Van Morrison will release ‘Latest Record Project: Volume 1’ on May 7th on Exile/BMG. His 42nd record and his most dynamic and contemporary album in years, ‘Latest Record Project: Volume 1’ is a 28-track delve into his ongoing love of blues, R&B, jazz and soul
The fourth Peter Murphy album Holy Smoke contained the single "The Sweetest Drop" which made it onto the modern rock charts. It was an elegant follow up to Deep with crisp production by Mike Thorne. As written in the original press release for the album, "You can't pin down HOLY SMOKE, it curls and eddies in white and blue swirls, drawing a series of patterns on the brain, but just when an image begins to come into focus, the music mutates into something hypnotically new".
Beggars Arkive announce vinyl reissues for all five Peter
Murphy solo releases on Beggars Banquet, plus the release of
a brand-new rarities album titled ‘The Last And Only Star’. Each
album is pressed on coloured vinyl. The albums will be released
in three batches of two.
Peter’s third solo album saw him break wide open with his
biggest hit, ‘Cuts You Up’, which is often included in lists of the
greatest alternative singles. Propelling him into mainstream
stardom, ‘Deep’ also had two additional fantastic charting
singles - ‘The Line Between the Devil’s Teeth (And That Which
Cannot Be Repeat)’, ‘Cuts You Up’ and ‘A Strange Kind Of
Love’. Again produced by Simon Rogers, the critically
acclaimed album is still a fan favourite. Pressed on clear vinyl.
The fourth Peter Murphy album, ‘Holy Smoke’, contained the
single ‘The Sweetest Drop’, which made it onto the modern rock
charts. It was an elegant follow up to ‘Deep’ with crisp
production by Mike Thorne. As written in the original press
release for the album, “You can’t pin down ‘Holy Smoke’, it curls
and eddies in white and blue swirls, drawing a series of patterns
on the brain, but just when an image begins to come into focus,
the music mutates into something hypnotically new.” Pressed
on smoky vinyl.
Peter Murphy’s solo career began in 1986 with the release of
‘Should The World Fail To Fall Apart’ and continues to this day.
In addition to his work as the frontman of the legendary and
ground breaking Bauhaus, he has released ten solo albums, in
addition to several live releases. Over the last few years, he
staged several multi-night residencies where he performed a
different album each night. He also recently reunited with his
Bauhaus bandmates for shows.
Beggars Arkive announce vinyl reissues for all five Peter
Murphy solo releases on Beggars Banquet, plus the release of
a brand-new rarities album titled ‘The Last And Only Star’. Each
album is pressed on coloured vinyl. The albums will be released
in three batches of two.
Peter’s third solo album saw him break wide open with his
biggest hit, ‘Cuts You Up’, which is often included in lists of the
greatest alternative singles. Propelling him into mainstream
stardom, ‘Deep’ also had two additional fantastic charting
singles - ‘The Line Between the Devil’s Teeth (And That Which
Cannot Be Repeat)’, ‘Cuts You Up’ and ‘A Strange Kind Of
Love’. Again produced by Simon Rogers, the critically
acclaimed album is still a fan favourite. Pressed on clear vinyl.
The fourth Peter Murphy album, ‘Holy Smoke’, contained the
single ‘The Sweetest Drop’, which made it onto the modern rock
charts. It was an elegant follow up to ‘Deep’ with crisp
production by Mike Thorne. As written in the original press
release for the album, “You can’t pin down ‘Holy Smoke’, it curls
and eddies in white and blue swirls, drawing a series of patterns
on the brain, but just when an image begins to come into focus,
the music mutates into something hypnotically new.” Pressed
on smoky vinyl.
Peter Murphy’s solo career began in 1986 with the release of
‘Should The World Fail To Fall Apart’ and continues to this day.
In addition to his work as the frontman of the legendary and
ground breaking Bauhaus, he has released ten solo albums, in
addition to several live releases. Over the last few years, he
staged several multi-night residencies where he performed a
different album each night. He also recently reunited with his
Bauhaus bandmates for shows.
A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. Seek Shelter — Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce, Seek Shelter sees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound, Seek Shelter radiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control. In an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s You’re Nothing was hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation. Plowing Into the Field of Love (2014) and Beyondless (2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos. Seek Shelter, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations. Singer and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For Seek Shelter, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.” He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.” Seek Shelter is a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.
Recorded in a cabin near the Sawtooth Mountains, Trevor Powers’ Capricorn plays like a fairy tale or alien quest. Fragmented and full of grace, it serves as a meditation on the passage of time — existing both in the past and future. Capricorn paints a world of melancholia and unsettling beauty. Powers’ field recordings, classical motifs, and software sculptures don’t stop time; they examine it like a beetle under a microscope — exposing that the extraordinary is often hidden in plain sight. “From the minute we wake up, we’re in a trance,” he says. “This is music for our digital coma.”
- audiophiles, rein analoges Mastering von den Original-Analogbändern
- Pressung in 180g-Vinyl
- extra-dicke, laminierte Tip-on-Gatefold-Sleeves
- wattierte Innenhüllen
Jazz meets Dance... GoGo Penguin Remixed - ein logischer Schritt!
Das in Manchester ansässige Jazz-Trio hat schon immer akustischen Jazz mit der Energie und Seele
elektronischer Musik verbunden und in Clubs wie auf Festivalbühnen Rave-artige Zustände erzeugt. Jetzt
gehen sie diesen Weg auf einem speziellen Albumprojekt weiter und lassen ihre Musik neu erfinden.
Auf ”GGP/RMX” widmen sich angesagte Producer und Remixer wie Squarepusher, Machinedrum, James
Holden oder Clark den besten Tracks des Trios und katapultieren sie in neue Klanglandschaften.
Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.
Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.
The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.
Four Flies is proud and excited to present the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's 1964 movie Il Vuoto.
Rightly considered by many to be a key figure, if not the key figure, in the history of Italian jazz, Trovajoli was responsible for fostering an appreciation and understanding of jazz among the generation of music listeners and musicians raised under Mussolini and Fascist nationalism. His outstanding work as a pianist, composer and conductor contributed immensely to the popularization of the genre among the general public and to the reduction of institutional bias against it.
The collaboration between Trovajoli and Vivarelli did not happen by chance. The latter, now regarded as one of Italy's "kings of the B's" for his work in the 'exotic-erotic' genre (Il dio serpente, Codice d'amore orientale, etc.), was a great music expert, a skilled talent scout for the Italian music industry, and a true lover of jazz.
Most of Trovajoli's score for Il vuoto has a refined smoothness that is clearly reminiscent of cool jazz – many tracks on the soundtrack are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. At the same time, Trovajoli explores other jazz styles or sub-styles in faster, more rhythm-oriented tracks influenced by bossa nova, samba, and even rock'n'roll, where instruments like drums and percussion, electric guitar, or flute take center stage.
This stylistic variety demonstrates both the maestro's versatility as a composer and the fine skills of the musicians who performed on the soundtrack. Like Trovajoli, they were all pioneers of Italian jazz and played in Italy's very first 'institutional' jazz orchestra: the Orchestra di Musica Leggera of the RAI (the Italian public broadcasting company), formed under Trovajoli's leadership in 1956 and credited as "his orchestra" in public performances and in the album The Beat Generation (RCA Italiana, 1960).
By making available for the first time ever almost all of the music recorded by Trovajoli for Il vuoto, this LP fills an important gap in the maestro's discography. Most importantly, it offers further insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music, which was possible thanks to Trovajoli's mastery as a composer and to the virtuosity of the pioneering musicians who performed in his orchestra.
Oiche, the debut album from Fears, available 7th Mayl 2021. Pieced
together over five years, Oiche chronicles growth through challenges,
instability, and relationship changes, both with one’s self and others.
The album reveals itself much like a coming of age novel about the breaking
apart of girlhood and rebuilding of a young woman. An intimate depiction of
discovery, Oiche unearths internal dialogue, and makes peace with uncertainty.
Oiche, meaning ‘night’ in Irish, was recorded in three bedrooms, hospital, and
the Domino Recordings studio in Brixton.
Fears is London-based Irish artist Constance Keane. Combining reflective electronics, acoustic samples, and haunting vocals with organic visuals, Fears invites the listener on an ethereal journey, blurring the boundaries between
music and visual art. Her minimalist approach centres on emotive subjects,
which are all-at-once deeply personal yet remarkably universal. Oiche is the
first release on TULLE, run by and for exceptional womxn.
Maya Dunietz is a prodigy pianist, an avant-garde sound artist, an award winning composer and mom to four.
A dubious character, a local legend and an inspiration for a generation of musicians. This is a unique kind of jazz. Glimpses of folk lullabies, African scales and rhythms, moments that border with free jazz, and homage to the old school traditions of stride, blues and to the great Thelonious Monk. Maya blends her infinite influences into a mind expanding groovy, never-dull journey.
This EP is Maya’s first solo release; with her as the leading voice and visionary.
Shpritsz (derived from a colloquial German word for “syringe”) is the second studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. The album produced two singles: “R & Roll Junkie” didn’t chart, but biggest hits, charting in Europe as well as the United States. Shpritsz remains one of Brood’s most critically and commercially successful albums. In a 2008 poll by leading Dutch music magazine OOR, Shpritz was voted the fourth- best Dutch album of all time.second single “Saturday Night” ended up becoming one of his
Despite the troubles globally faced in 2020, it's safe to say that The Allergies bucked the trend and came back by ultimately having a rather glorious year. Releasing their fourth stu-dio album, achieving the 'A List' on BBC Radio 6 Music and Radio Eins in Berlin, climbing high in the NACC US college charts, and generally receiving critical acclaim from a world that had an understandable appetite for some joyful and fun music in their lives.
2021 shows no signs of things slowing down. The heat continues for their 2020 album Say The Word with Pioneer, Liptons and IAMS all taking Allergies tracks for their global advertis-ing campaigns. Rather than rest on their laurels, though, the guys went full lockdown crea-tive and have their fifth album due for release in September, 2021.
"Jumping Off" was the first new track from the album to be debuted at the end of 2020 – A self-sampling version of their 2018 track "Main Event". As with all Allergies tracks of late, the limited 7" release caused a Discogs feeding frenzy.
Now, The Allergies power forward with the first single of the 2021 album campaign – An absolute dancefloor destroyer featuring legend of the mic, Dynamite MC, entitled "Lean On You".
The Allergies first hooked up with Dyna on previous album Say The Word for the fan favour-ite "Hot Sensation". But, scheduling clashes with Dynamite's own album release meant that a single outing for that track was not possible.
No such issues this time round means The Allergies kick off their 2021 album with a serious club and radio contender to move things to the next level.
It's a stylistic new lane for the Bristol-based beatmakers. Their trademark heavy drum chops now flowing on half time tempos, with blues guitars riffs front and centre. The perfect back-ing, then, for the UK rap legend to find his theme and raise the roof.
The 7" is backed by "Working On Me" – A classic Allergies-style screamer with a taste of funky swamp rock, updated for your favourite dancefloor/kitchen/outside space, with five other people…
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Banoffee Pies Records 16th Original Series release comes via a 4 track Split EP collaboration between Kincaid, and Zenzizenz, the ambient moniker of techno producer Viers. After a long year behind us, and likely ahead, this record takes a temporary step into the calm and adds reflection to the blurred months that passed.
The release is a collection of textural bumps and melodies opening with Kincaid's 9 minute "Slow Stumble Home" - an aptly titled down tempo trip through a confused space, layered with composition, like a Playstation home screen theme on Mushrooms. Calm follows with two tracks from Zenzizenz - "Returning From Home", a steady meditation through rumbling sounds soon shift to a new mood on the B side. "Falling Off" offers a more lethargic wandering mood through the marshland before BP016 comes to it's close with "Single Cell", the 2nd Kincaid track, which concludes with a chaptered 4x4 structure and slow bursts of energy within. Time to absorb. Love BP x
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A trip through the productions of pioneering genius Joe Meek. Here we have a mix of hits that have appeared on comps before and real out-there obscurities. Designed to be highly listenable. Never a dull moment amongst these songs that cover subjects close to Joes' heart such as vampires, love (and the lack of it), death, outer space, the human soul, Buddy Holly, and more. Artists featured are The Blue Rondos, The Blue Men, Jason Eddie and the Centremen, The Sound Offs, The Moontrekkers, Johnny Leyton, The Cryin' Shames, Mike Berry, The Outlaws, Chick Lewis, Glenda Collins and even Joe himself warbling out a tune. One time very small pressing so please don't sleep.
On April 30, Mascot Label Group/Provogue will release "How Blue Can You Get", a collection of previously unreleased songs from Gary's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King.
Venturing deep into the Moore family archives, some previously unheard and unreleased deep cuts and alternative versions surfaced to accentuate the beguiling mastery of one of blues' finest modern exponents. Amongst the songs are unheard and unreleased Moore originals - "In My Dreams," a lusciously glorious slow-moving ballad with every note and bend weeping as Moore pours out his heart along with the stunningly melancholic "Looking At Your Picture".
The album kicks off a rip-roaring take on Freddie King's "I'm Tore Down," a Moore live favourite before he slips into a previously unreleased virtuosic version on Memphis Slim's "Steppin' Out." Elmore James' "Done Somebody Wrong," is another that showcases his blues chops, as does the enormous 7-minute never been released before scorching take on BB King's 1964 hit "How Blue Can You Get." An alternative version of "Love Can Make A Fool Of You," makes itself at home deep into the blues-rock heart of Moore, in a way that his most loved songs do, whilst the finale soars into the stratosphere with the beautifully aching "Living With The Blues."
It's our hope that current and future generations of music fans discover and re-discover Gary Moore, revelling in the artistry of not just a great guitarist, but a supremely talented musician. Back to the future with Gary Moore.
“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley.
The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.
This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
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Is it really a musical?! The 33rd Guided By Voices album, Earth
Man Blues, is a magical cinematic rock album, full of dramatic
and surreal twists and turns. Lyrics and liner notes trace the
growth of young Harold Admore Harold through a coming of age
and a reckoning with darkness. Vivid scenes appear: snapshots
of youth, fantastical nightmares, unknown worlds.
The music hasn’t softened a bit. One will hear the impossibly
perfect melodies and word play that you expect from Robert
Pollard, with the band playing at peak-heavy. “Trust Them Now”
rocks like an instant classic, “The Batman Sees The Ball” is lean,
mean rock muscle. Opener “Made Man” tears and slashes at the
ears and heart. Sweeping, colossal tracks like “Lights Out (In
Memphis, Egypt)” and “Dirty Kid School” stretch far beyond
the ordinary vocabulary of rock.
Doug Gillard’s brilliant guitar playing explodes out of
the speakers. The rhythm section of Kevin March and Mark
Shue, always strong and reliable, has grown into a breathing
composite organism. Along with Bobby Bare, Jr on rhythm
guitar, they drive the songs and make one’s head shake. Producer
Travis Harrison ties the talents of the band together, once again
recorded remotely and individually, pandemic-style. This group
brings to life the sounds in Pollard’s technicolor imagination.
Recorded in 1959 at the height of the Latin Jazz Era, This is Mongo Santamaria's second album for Fantasy Records. A deep and fascinating investigation of Afro-Cuban roots run by the great percussionist and a
quite large group featuring Paul Horn on flute, Emil Richards on vibraphone, Al McKibbons on bass and of course lots of multicolored percussion and vocals split by a bunch of masters players including
Armando Peraza and Willie Bobo.The album opens with the redolent melody of "Afro-Blue" one of his most beautiful compositions which later became a classic Jazz standards with historical renditions by
the likes of John Coltrane, Abbey Lincoln and Oscar Brown Jr.
Beautiful and highly collectible item: 2xColored LP (Orange / Translucent) + Booklet + Gatefold. Both CDs and 2LP contains download code. Official licence with SNK.
The soundtrack for the sequel to SNK's classic fighting franchise, ART OF FIGHTING 2, is now available on vinyl! Featuring 34 breathtaking NEO GEO tracks across 2-LPs and CD, take the ART OF FIGHTING 2 soundtrack for a spin and relive the classic days of SNK music.
Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.
About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).
"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen
It was during that time that Alex came across a young Sam Edwards.
"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."
Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.
"Sam had never had professional training, she was simply an utter natural."
The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.
"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."
Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.
"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."
It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.
"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.
The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.
"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.
"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.
But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.
Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.
"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.
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• When Lonnie Mack’s treatment of Chuck Berry’s ‘Memphis’ broke into the US Hot 100 on 8 June 1963 and peaked at #5 during its 13-week stay, he was initially pigeonholed as an instrumental artist. This perception was heightened by ‘Down In The Dumps’ on the flip, and furthered by his double-sided instrumental follow-up whose topside, ‘Wham!’, reached #28.
• Six months later the other side of Lonnie was revealed with his first vocal 45. The topside was a dynamic re-vamp of Jimmy Reed’s ‘Baby, What’s Wrong’, backed with a version of the gospel classic ‘Where There’s A Will’. Here you could hear him emoting in a way white singers never did – hollering, pleading and screaming in the very finest gospel tradition. The track was even picked up by some black radio stations in the south, but quietly dropped once it was realised that Lonnie was white.
• ‘Memphis’ was recorded at King Records Studio in Cincinnati on 12 March 1963. Carl Edmondson had been booked to produce a split session for Max Falcon, Kenny Smith and the Charmaines, but Edmondson’s band had recently broken up, so Lonnie and his crew were drafted in. With some time left at the end of the session, Lonnie was asked if he had anything he might like to record. ‘Memphis’ was the result. Edmondson thought the track had potential and suggested to Fraternity Records boss, Harry Carlson, that he should put it out. Within weeks it was climbing the charts, launching Lonnie’s long career.
• Post-Fraternity releases on Elektra, Capitol, Epic and Alligator cemented his reputation as the man who brought gospel, soul, blues, country and rock’n’roll together. He was one of the creators of blue-eyed soul, as well as the leading light for the legion of blues-based rock guitarists who plied their trade from the 60s onwards. It has to be said, though, that the bedrock of his legend rests on his Fraternity recordings, which highlighted both sides of Lonnie Mack – the vocalist and the guitarist.
At first glance, Sarah Louise might seem an unlikely candidate
to credit technology as inspiration for her new album, Earth Bow.
After all, she has lived in rural Appalachia for the last decade,
foraging numerous species of wild mushroom, concocting
medicine from plants she gathers, and performing what she
terms “Earth Practices” to deepen her relationship with the
natural world. But it is precisely her ability to find connections
between false binaries that makes this album so novel and richly
immersive.
Louise conceived Earth Bow as an interconnected ecosystem,
meant to evolve, interact and grow. Known for her inventive
guitar playing, vocal harmonies and electronic experiments,
it was her use of the SP-404SX sampler that became a primary
inspiration for the album’s woven nature. “Improvising with the
404 during live shows allows me to collaborate with the music
as a living system, almost the way generative music works,” she
says. “I kept finding more and more samples that worked together
and realized I wanted to connect the entire record—and
that there were many ways it could be connected.”
Through this process, what began as eight core songs
blossomed into two sweeping suites. Samples—denizens of
her electronic forest—move around the record with changing
context like words in a sestina or phrases in the I Ching,
revealing new connections with each listen. Mesmeric sounds
abound on Earth Bow, from analog synth tones, to digitally
manipulated sonics that she stretches and layers with a painterly
touch. These electronic sounds inhabit the same environment as
field recordings, ceremonial percussion, guitars and empathic
vocals, weaving together her vast and borderless influences into
an enveloping world. “I want this record to take people on a
journey through the wonders of our incredible planet, to help
people feel held by the mysteries of nature,” she enthuses. “I
believe music can heal.” After a string of celebrated releases on
Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her
new imprint of the same name.
Dalida's career never ceases to deliver its share of surprises, and in 2021, her song "Dans La Ville Endormie »" was chosen to appear in the soundtrack of the next James Bond “No Time To Die" . Dalida said "Beautiful melodies never die" and she was right. This original selection of songs now deserve to go from shadow to light on the back of the huge exposure from the film. Reviews and Ads – L’Echo and London Macadam
Five years on from Birdy’s last studio album ‘Beautiful Lies’, it may sound like a long break between albums but for Birdy, taking time to stop, experience the world and find out who she really is, was a necessary circuit break. Travelling to Nashville, home to the greatest heartache songs ever written and visiting LA drawing from classic artists Joni Mitchell and Nick Dave was the perfect way to seek inspiration. These gorgeous surroundings and collaborators seemed to know, instinctively, how to draw the words out from Birdy imbued Young Heart with strokes of the artists who had gone before.
‘Young Heart’ is quite the departure from Birdy’s previous album, 2015’s dramatic Beautiful Lies. Where Beautiful Lies was a fairy tale, Young Heart is a gritty realist portrait of the artist in pain, looking for the light.
Speaking of Young Heart, Birdy says: I’m so proud of this album, my last record was a lot more theatrical–there was a lot going on, it was a big production. Whereas this is quite stripped back -anything that didn’t need to be there, isn’t. There’s no decoration. This album just feels very personal – I’ve grown up a lot over the past five years and have experienced new things that have shaped my understanding of the world, but also of who I am as an artist. This album means a lot to me -I want to protect it.”
Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.
Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”
Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.
Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”
After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”
Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.
After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.
That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.
That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.
While Joe Henderson seemed to arrive fully formed on his auspicious 1963 debut Page One, the album was really a showcase for the transcendent collaboration between the tenor saxophonist and trumpeter Kenny Dorham who would form a potent frontline team on numerous mid-60s Blue Note classics. Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the six-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
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On Board Music kicks off 2021 with Point C, the third in a series of Various Artist 12-inches. It continues Laura BCR’s exploration of the heady atmospheres between techno, dub and ambient, where the boundaries between the dancefloor and headphone introspection are blurred. Foreign Material’s opens Point C with a depth charge bassline and cavernous swells. It sets up the ethereal, light-footed skip of Hiver’s “Time Lapse” and Sylve’s dreamy “Cloudless Raindrops”. Alan Backdrop delivers pristine techno voodooism on the B-side, followed by the tunnelling shimmer of Hironori Takahashi’s “Exars”.
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This reissue features 20 tracks, including two bonus tracks, by the virtuoso gypsy guitarist Django Reinhardt. Included are recordings with violinist Stephane Grappelli, co-founder of the Quintette Du Hot Club De France, Bill Coleman, Rex Stewart, Barney Bigard and Dicky Wells.
The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Django’s virtuosity continues to astonish guitar masters and young musicians today. He passed away at the zenith of a short career, leaving behind a body of recordings that give indisputable proof of his authentic creative genius.” Jazz Magazine
p Solid Old Man Solid Rock
q Finesse Night Wind
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Limited edition 180g vinyl reissue of ‘Workin’ With The Miles Davis
Quintet’ on blue vinyl. Classic Miles Davis Quintet studio session from
1956 (released Jan. 1960) produced by Bob Weinstock for Prestige Records.
“This is the sort of thing that is going to be owned and played and dug and redug for all time. Few bands in the history of jazz have had the quality of this group. The whole LP is a gas. I don’t see how anyone can do without it.” - Ralph J. Gleason, DownBeat
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On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.
To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.
In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.
This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.
In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.
Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!
Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.
Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.
