Suche:bob d

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max's Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it.

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max's Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it.

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

It’s hard to believe that it’s been over 30 years since Candy Dulfer rose to fame with her high-profile collaborations with Dave Stewart (the worldwide number 1 smash “Lily was here”) and of course the legendary Prince, whose tongue-in-cheek recommendation (“When I want sax, I call Candy”) in the “Partyman” video made the world sit up and notice the young, glamorous and talented sax player at his side. Candy has been fortunate to work - both in the studio and on stage - with some of the biggest names in music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, Aretha Franklin, and many others. Despite these high-profile collaborations, Candy mainly focused on her solo career, starting her own band at age 13 and touring the world ever since.

12 great reggae classics on a nice picture disc vinyl

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Seven Evil Exes Limited Edition)
• 4x LP picture discs
• Limited Edition Set
• Exclusive bonus tracks not included on original soundtrack by Sex Bob-omb, Beck, plus highly sought- after Brie Larson w/ Metric
• Social support from Edgar Wright + Beck
Bonus ephemera: 
 • Full colour film poster
 • Exclusive Colouring Page by Bryan O’Malley
• Printed note from Edgar Wright, Director

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Original Score Composed By Nigel Godrich)
• 2xLP
• First time released on vinyl
• Blue colour vinyl
• Social Support from Edgar Wright (Director) & Beck

he Finnish crooner, Bobby Oroza, is back with a new set of tunes that pick up right where his glorious 2018 debut album, This Love, left off. The A side 'I Got Love' is a sweet soul anthem for those with their priorities straight and an encouraging reminder to those who may have lost sight of what is truly important in life. Bobby has penned another hit. He sings about choosing love over all things material and recognizing what you have when you have it. Bobby sings an earworm of a chorus that sums it up perfectly, "I got love, and that's enough". The B side, 'Loving Body', is as seductive as it is profound. Bobby proposi- tions his love interest over a gorgeous Cold Diamond & Mink production for more than a light hearted love affair. Mr. Oroza is not your average Joe, and this is not your average roses and candy song. Bobby lays out his desire to become one loving body in the way two rivers become part of the sea. A beautiful song about attraction and desire that will be an instant staple in the sweet soul world and beyond.

Debut commercial mixtape by Australian rapper/singer, which was released digitally in July 2020 by Grade A Productions and Columbia Records (released via RCA Records in UK). Production was handled by twenty one record producers, including Benny Blanco, Bobby Raps, Cashmere Cat and Taz Taylor. It features guest collaborations from Corbin Smidzik, Juice Wrld and Lil Mosey. It received a nomination for Best Hip Hop Release at the 2020 ARIA Music Awards. This is a standard single LP on black vinyl. Strong radio airplay support. Promo/marketing activity across all media outlets. Includes the current Top 5 hit 'Without You'.

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

Sony Classical release - OST from the forthcoming Netflix film directed by Ryan Murphy based on the hit Broadway musical from Bob Martin, Chad Beguelin and Matthew Sklar. The album includes all sixteen songs from the original musical, each newly recorded by the film’s star studded cast including Meryl Streep, James Corden, Nicole Kidman, Kerry Washington, Andrew Rannells, Keegan-Michael Key, Ariana DeBose and newcomer Jo Ellen Pellman. Limited double gatefold LP pressed on purple vinyl. CD was released December 18th 2020. Specialist marketing activity.

Number nine of the serie LANOIRE sarted in 2014, "Greyhound" is a step back into 50's rhythm N Blues, with some obscure sides and never re pressed singles or 78's. The gatefold sleeve is fully documented with picture and liner notes, for a complete immertion into the best of the genre...

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out in February, introduces the album with its ethereal brooding pop arrangement.
Some years ago, the world started to go weird – and that’s when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps.
Phil … and Mof … shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson’s gorgeous opus, ‘Love & Mercy’. The result was enough for them to start writing songs, and the blueprint for Portable Radio was born – hope, empathy, fun, love, and mercy.
Phil had cut his teeth in the Beep Seals and Mof was a DJ and student of pop, and in each other they both wanted to make music that was a tonic for the times; what transpired was a clutch of songs that were filled with uplifting, rich harmonies – stirring power pop inspired by Todd Rundgren, Wings, Carole King, Electric Light Orchestra, NRBQ, Emitt Rhodes, ‘70s West Coast AOR, The Zombies, and of course, The Beach Boys.
The duo released their Baroque Pop debut single with You Are The Cosmos recordings – the double A-Side of ‘Seven Hills’ and ‘Parades’. A cult following started and some shows and radio sessions ensued, joined by extended family – tap room-Mozart Jim Noir, shed-pop wizard Aidan Smith, and Phil’s previous bandmate, the supremely talented Ian Smith (Beep Seals/Alfie).
Soon, Robyn Gibson (The Junipers/Bob Of The Pops) joined the ranks for their star turn and appearance on the ‘12 String High’ compilation. The two becoming a trio, the output cranked up, seeing the release of the debut Portable Radio EP (produced by Jim Noir) and the Christmas Selection Box, all loaded with killer hooks, washes of dreamy harmonies, and just a sprinkling of cynicism because no-one is impervious to the all-encompassing weirdness of the last couple of years.
All of these things were the groundwork for the imminent full-length, self-titled debut, out in March 2021. The LP (vinyl/download/streaming) is full to bursting with big choruses, reflective popsike, FM ready pop, melancholic ballads, with each song is treated like it’s going to be a single.

Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US and their anthem 'Demolición' is one of the most insane '60s punk songs of all time. Unavailable on a 45 for over a decade, here it is again! The archaeology of rock'n'roll is much like any other form of digging. Significant finds demand the re-addressing of previously considered certainty. You can hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. When Los Saicos' front man Erwin Flores was asked how aware he and his friends were of what was happening in Britain and the US at the time, here's what he had to say: "We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. We thought of ourselves as bad boys and that must have been a driving force." "Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy."

Anohni has shared an emotive cover of Gloria Gaynor's 1978 classic 'I WIll Survive'. The track was a staple of her early live shows and opens with a graceful string arrangement by Maxim Moston, paired with piano performed by Anohni. Prior to the track being widely available on streaming platforms, Anohni shared a video incorporating live footage alongside messages dedicated to groups and causes that Anohni has long been an activist and advocate for. During the clip, Anohni dedicates the song to "the sacred gay people"; "all endangered Black trans lives"; "those in the US who die from medical neglect"; "the coral reefs of the world, now rotting"; "all those awaiting execution in US death chambers"; "Black lives tortured and stolen by American cops" and more. The messages reflect Anohni's longer values and work as an artist, trans activist, environmentalist and advocate for social justice. Alongside the release is a statement from Anohni, on the track being the subject of a licensing offer she turned down due to the platform in question hosting misleading pro-Trump ads. Further on the track, Anohni explains: "It was the first song I ever sang in nightclubs in NYC when I was 20 years old. I sang it hundreds of times. In those days I sang it thinking of Marsha P. Johnson and the underground queer community struggling to survive in the face of AIDS. Now it seems to me like an anthem for the future of life on earth." 'I Will Survive' follows a brace of releases from Anohni this year: most recently 'R.N.C 2020', a track inspired by the Republican National Convention which took place in August and the dread Anohni felt while watching it. Prior to that, Anohni released a 7" consisting of two covers, one of Bob Dylan's 'It's All Over Now, Baby Blue' with a b-side of Nina Simone's 'Be My Husband'.

Bobby Would LP#2. Wistful waltztime psychobeat for warding off / wallowing in the 2020-21 Weltschmerz. Swelling and smearing the vision of 2018’s skeletal rock’n’roll heartbreaker Baby, most of the songs here are ballads – minimalist, ultra-hypnotic but lavishly melodic space-punk lullabies and bright, bruised expressions of jingle-jangle mourning. Highs, lows and heavenly blows. BW’s guitar is, more than ever, a thing of fearsome and filigree beauty, moving effortlessly from misty, mellifluous DIY pop-dreams to wailing vertiginous whiplash leads and dazed, epiphanic, angels-wept metha-drone, ringing in infinity - and tethered to this earth only by his beloved monotone, numbed-out, serial-killer croon. Spinning in its own orbit, but with recognisable dabs - perhaps - of Phantom Payn / JG39, Les Rallizes Denudes, Gary War, Peter Gutteridge’s Pure...and of course Bobby’s own work in Heavy Metal and Itchy Bugger.

The mystifying 9th album in the Field Works series, Cedars combines cosmic Americana with Western ambient and Middle Eastern influences. Delicate layers of pedal steel, banjo, oud, and hurdy-gurdy float atop looping guitar drones to create a soothing, atmospheric chamber where folk and electronic music coalesce. Set to Arabic and English poetry, the song cycle examines some of Earth's most iconic and ancient forests, revealing our complicated relationship with the natural world. For this special dual-language release, Field Works producer Stuart Hyatt has assembled a supergroup of musicians, poets, and artists. The album is narrated by Youmna Saba and H.C. McEntire. Instrumentalists include Marisa Anderson, Fadi Tabbal, Dena El Saffar, Danny Paul Grody, Bob Hoffnar, Tomás Lozano, Nathan Bowles, Alex Roldan, Youmna Saba, and Stuart Hyatt. Renowned illustrator María Medem brings poems by Todd Fleming Davis and Youmna Saba to life in the accompanying full-color Risograph comic book; and longtime Field Works collaborators PRINTtEXT design the packaging.

The variety of Kühn’s pianism in this collection is
quite remarkable.
The listener is first welcomed into the inviting,
comforting and regular pulse of Mal Waldron’s
‘Warm Canto’. And yet later, by complete contrast,
Kühn’s own composition ‘Sintra’ gives a
masterclass in freedom, delay and the alchemical
art of keeping the listener waiting on tenterhooks.
Prince’s ‘Purple Rain’ is achingly soulful, whereas
Kühn found the encouragement to revisit Bill
Evans’ ‘Peace Piece’ from the dignity and restraint
of classical pianist Igor Levit’s version.
LP pressed on 180g vinyl.

[e] A5. Charles Mingus - II B.S. [Album Version]

Though it’s hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry “The Skipper” Franklin would have to be near the top of the list. Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-‘60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela’s band (that’s Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it’s hard to make comparisons; definitely a little fusion, a little ‘60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired (“Little Miss Laurie”) and funk-infused (“Plastic Creek Stomp”) sides of jazz, but perhaps the best comparison is late-‘60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. First-time LP reissue and a must-have!

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. Soon after, Trojan released a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. This legend turned 84! this year and he’s still performing and recording music.

Hawkwind have always been associated with music festivals, most notably the free festivals, where Dave Brock has said that, at

those events, the band is not shackled to appease an audience by giving them what they expect and have paid to see. With that obligation removed, the band can relax and experiment more than usual and gigs become even more fun. Their sessions, where they played for free, sometimes with the Pink Fairies, at Canvas City, outside the official site of the Isle Of White Festival in 1970, are a matter of legend and Nik Turner gained much attention when he painted his face silver and was much photographed as a result. During his set, Jimi Hendrix referred to him as 'the cat with the silver face'. However, when we think of Hawkwind and festivals, the word Stonehenge leaps to the fore.

The band always loved being there, enjoying the whole event as well as the freedom of how and when they played. This was not a time of business, but a time of fun. The most important one of these was Stonehenge 1984, which proved to be the last festival before the authorities moved in the following year to block the festival from being set up and Hawkwind ended up playing a few miles away instead. It was the sad end to an era. It had taken place twelve times and, had it been allowed one more time, it would have become a public event and the powers that be were determined to prevent that from happening. Happily, the 1984 festival was recorded and filmed and the Hawkwind Solstice Eve and Solstice Morning were both preserved...and we should be grateful for that.


The fact that Hawkwind were playing for free didn't mean it was a basic show. As well as the line-up of Dave Brock, Harvey Bainbridge, Huw Lloyd Langton (who played the evening session, but not the following morning), Nik Turner, Alan Davey and Danny Thompson, there were half a dozen dancers, a mime artist and fire spitting. A free event, it was the ideal time to introduce the new rhythm section to the band in the form of Danny Thompson on drums and Alan Davey on bass, with Harvey moved to keyboards. A move which was to have a long term affect in the way he made music, leading to his solo career, as well as years playing synths for Hawklords, in years to come, after his stint as the Hawkwind keyboards player came to an end.. Danny fitted the bill comfortably and drummed for the band until he left in 1988, to be replaced by Richard Chadwick. Danny went on to play for other bands including Bedouin and Pre Med. He also recorded a cassette album called Skinwalker. Alan made a good team alongside Dave Brock and it can be seen on the video just how pleased he was to be playing alongside Dave Brock, a man whom he had only met for the first time in November 1982, backstage at the Ipswich Gaumont. He went on to be the longest serving Hawkwind bass player, before moving on to pursue solo projects and form a nmber of bands. So in terms of the line-up, Stonehenge 1984 had a notable impact on the formation of the band for a number of years and, indeed, the destinies of Harvey, Danny and Alan. As if that were not enough to make the event special in the annals of Hawkwind, they played an interesting and varied main set in the evening, featuring a blend of old and new Hawkwind songs, along with numbers from Inner City Unit and

Bob Calvert's Lucky Leif And The Starfighters album. In keeping with the relaxed atmosphere, there was a considerably extended

version of Ghost Dance, lasting around ten minutes. The sunrise set was special too, with a long, laid-back, jam at dawn, in fitting with the occasion.



A lovely and relaxing start to the day and the kind of jam they couldn't really play to a paying audience. It's good to have the

memories of this significant festival gathered together in three formats.

Enjoy this special set, which commemorates a special event, not only in the history of Hawkwind, but of the saga of Stonehenge festivals.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

This is the last volume of this very sucessfull serie, Ten volumes were pressed from 2014, 17.000 copies of the LANOIRE around the world to spread the good words of Rhythm'N Blues, Gospel & Soul. Volume Ten ends up on a naughty early funk mood!

Very limited 12” – 1 run only – Solid Blue 12’’ vinyl. 4/4 printed sleeve. 5 track EP.

Features the original version of “Moving Men” (feat. Mac de Marco) and 4 remixes by METRONOMY, GASPARD AUGÉ (from JUSTICE) & VICTOR LE MASNE, BOB SINCLAR & PANTEROS666.
Teaser of the forthcoming 1st album by Myd to be released in Spring 2021 on Ed Banger Records / Because Music.

• When David Bowie and Iggy Pop relocated from LA to continental Europe, taking trains to Berlin, Paris and Warsaw, they would have come across new music that was very different to the burgeoning disco scene they left behind. “Cafe Exil” – named after one of Bowie’s favourite Berlin haunts – imagines the soundtrack that would have informed “Low”, “Heroes” and “Lodger”. It’s an awesome mix of electronica, Krautrock and experimental treats.

• There are key tracks from members of Can and Tangerine Dream, fascinating obscurities by German act Streetmark and Italian library maestro Piero Umiliani, the Herzog-soundtracking Popul Vuh, and highly collectible avant-strangeness by Annette Peacock. Czech-born Jan Hammer’s beautiful, light, atmospheric groove is among myriad surprises.

• “Cafe Exil” has been put together by Saint Etienne’s Bob Stanley and Jason Wood, author of multiple books on cinema and programmer at Home in Manchester. It fits in with other recent Ace compilations such as “English Weather” and “76 In The Shade” – it creates a mood, a time and a place. You’re right there, sat next to Bowie, drinking his Pernod and black, in a darkly lit Berlin bar.

• This 2LP set features a bonus track from Edgar Froese.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

When it came to playing soul jazz with organ combos, jamming bebop with a quartet, caressing ballads or coming up with fresh approaches to Latin jazz and spirituals, the versatile Grant Green was at the top of his field. Among his many recordings, his most vital and adventurous remains Idle Moments. With such inspiring sidemen as Joe Henderson, Bobby Hutcherson and Duke Pearson, Green is heard at the absolute apex of his creativity throughout this stunning set.

He builds up statements like a masterful speaker, sounds both passionate and thoughtful at every tempo, and never runs out of brilliant and personal ideas to express. Every phrase leads to the next one yet all of his solos are spontaneous. While the other musicians are inspired and in top form, Idle Moments is particularly notable as the height of Grant Green’s musical genius!

By the time Toy Doys issued Bare Faced Cheek as the inaugural LP of their own Nit Records
label, bassist Flip had been replaced by Dean Robson and drummer Happy Bob by Martin
Yule, with Olga still the vocal focal point. “Yul Brynner Was A Skinhead” is the best of the
bunch, “Neville Is A Nerd” and “Quick To Quit The Quentin” are typical Toy Dolls punk
piss-takes, and there are digs at a hotel and a local launderette too. Everything is delivered in
lightning-fast bursts of energy, poking fun at all and sundry, the Toy Dolls punk way.

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

Generally speaking, albums are created over the course of a few weeks, months, or years. However when it comes to Airplane Mode, not only has it spanned the latter, but its DNA was formed across two continents, a multitude of significant life changes, and an overall renaming of the projects title.

What started as a collaboration effort morphed in to a sonic space that Tall Black Guy used to highlight questions many of us frequently ask, but struggle to answer; Why am I here? Am I enough? What makes me happy? How do I move forward? What does real love feel like? Although the answers may be different for us all, Airplane Mode sets the path that the listeners use to reach their own conclusion.

In closing, rarely does 40 minutes capture the essence of so many different facades of an artist’s process, and personal transition. As intimate as the album may be, Tall Black Guy leaves room for people to shape their own interpretation by what they bring to the listening experience. Airplane Mode demands your complete consideration, and is intended to be consumed without skips, or interruptions. In other words, sit back, relax, and put your mind in….Airplane Mode!

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

“I was born here” said Alice Cooper, “and so was the sound and spirit of Alice Cooper.” Named for the city that launched the original Alice Cooper group, “Detroit Stories” followslast year’s “Breadcrumbs” EP as a modern-day homage to the toughest and craziest Rock n Roll scene there ever was. Alice Cooper and Bob Ezrin gathered some legendary Detroit musicians (Wayne Kramer, Johnny “Bee” Badanjek, Paul Randolph and many more) in a Detroit studio to record “Detroit Stories”, Alice Cooper’s new album that celebrates that spirit for a new era. Finally, it would not be a proper collection of Detroit tales if it didn’t include a few songs featuring the Original Band members, Mike Bruce, Dennis Dunaway and Neal. Joe Bonamassa also makes an appearance on the intro track “Rock ‘n’ Roll”. If 2019’s “Breadcrumbs” EP laid down the trail to the city, “Detroit Stories” drives like a muscle car right down Woodward Ave. Discover Detroit Stories as they were meant to be told. Available across 5 formats: CD / CD+DVD / 2LP Black, Boxset. Boxset inclues CD, T-shirt, Face Mask, Torch Light, 3 Stickers. Expected reviews across the broadsheets and tabloids. Daily Mail already picked this album as one of their 2021 albums to look out for! Current single playlisted at BCR2.

Ragga tek banger.. .with a cool Hardcore tune for the finish !!!

'The Times' is a moving and topical solo acoustic performance, a unique collection of songs, recorded by Neil Young at home during lockdown as part of the raw and personal, 'FIRESIDE SESSIONS' series.

The songs include his updated 'Lookin' For A Leader - 2020,' ‘Alabama’ from the seminal ‘Harvest’ album, the Young penned CSN&Y classic ‘Ohio’, the brilliant ‘Southern Man’ from the ‘After The Gold Rush’ album, and Bob Dylan's 'The Times They Are A-Changin' closing with 'Little Wing' from the latest Reprise release, 'Homegrown'.

After initial release in September 2020 on CD, the EP is now available on vinyl for the first time.

'Open Door Policy' is The Hold Steady's 8th full length studio album and the follow up to 2019's 'Thrashing Thru The Passion'. Produced by Josh Kaufman (The National, Hiss Golden Messenger, Josh Ritter), this new release once again finds the 6-piece line up in peak form in what Craig Finn describes as "the best band we've ever been". The Hold Steady is: Bobby Drake (drums), Craig Finn (vocals), Tad Kubler (guitar, vocals), Franz Nicolay (keyboards), Galen Polivka (bass), and Steve Selvidge (guitar, vocals).

Only four days after Donovan’s nineteenth birthday his successful debut album What’s Bin Did and What’s Bin Hid was released. It contains his popular hit single “Catch the Wind”. The music primarily consists of Donovan singing and playing mouth harp and acoustic guitar. Although Donovan was hailed as the British answer to Bob Dylan when he first emerged, his debut album actually established him as a distinctive talent in his own right.

During an unprecedented yet poignant global situation, Bobhowla’s debut album EVERYTHING’S WRONG, BUT
IT’S ALRIGHT serves to soundtrack our daily challenges we all face since the start of the pandemic.
Recorded and produced by Rod Jones at Post Electric Studio, this 11-track strong collection of songs bring
together a wider scope of influences than usually found in any particular group’s output. Years of solo acoustic
performances around the north west have honed an acoustic base into more gritted tones, alongside folk,
electronica and dream-pop influences.
The single Million $ Man is as direct as a song can be, with crunchy guitars harking back to simpler times of loud
choruses and powerful anthems. Their debut album is the culmination of recording sessions with Rod Jones
(Idlewild) at Post Electric Studio. Working together to form 11 tracks, an accumulation of songwriting ideas
spanning years. Million § Man is the album’s example of taking a staple live favourite and letting the studio process
completely re-map the track’s direction. The once folky-skiffle ditty is now a hard-hitting, anthemic call to arms,
complete with a crafty hook and chorus to match.
Behind the music, hides deeper meaning. In what singer Howard Doupé believes to be first - a track dealing with
the emotional complexities of a life, delicately touched with health-laden ‘survivor’s guilt.’ Like so many songs
before, Million $ Man is an upbeat indie-pop tune that masks a sobering and very rarely explored subject matter.
It’s an honest and frank perception that attempts to deal with issues that will resonate with a particular section of
our community. In a daringly brave move, Doupé expresses a personal narrative with the track, firmly cementing
the album’s themes in real life matters.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

There is a blink-and-you’ll-miss-it anecdote tucked into one of
the many fine documentaries about seminal 20th Century artist
Jean-Michel Basquiat regarding the habits of his studio practice.
As we watch inspiring footage of Basquiat darting from one
piece to the next with rapid-fire brush strokes, a friend or
gallerist in a voice over says that it was not unusual for
Basquiat to be working on several paintings in the same
moment as several radio stations and televisions played in the
background. Not much more time is spent on the anecdote but
it feels like a skeleton key into Basquiat’s endlessly alluring,
neoexpressionist work.
And while Bryan Devendorf’s solo curio ‘Royal Green’ doesn’t
possess the only-in-New York vibe of Basquiat’s work, there is
something shared in its many-channels-open style of creation.
Satellite signals, strange voices from lost television
documentaries and radio operas are all woven into its fabric -
like it’s using these endless tides of media and information to
unlock the subconscious. Even its covers - Bob Dylan,
Fleetwood Mac, The National (with a nice big wink), The
Beatles - are like stunning, albeit satanic takes on hymns, or
like American standards almost dragged into the underworld.
Like the best of Spacemen 3, Sparklehorse or massively
underrated San Fran band Skygreen Leopards - the music
makes you queasy in one movement and lulls you into
blissmode in the next. It’s the very edge of outsider pop
songwriting.
For all the amphitheaters and festival fields Devendorf has
played to over his career, ‘Royal Green’ almost feels like an unlearning and a newfound love of homemade/found/fractured
sounds - and how, if collaged just so, detritus can become
stunningly gorgeous and surreal. And not without hooks. Look
no further than ‘Frosty’, which could be Little Billy Corgan’s
decayed demo tape from just before the Smashing Pumpkins
appeared on the scene. And the unspooling, slightly unglued
dream-pop of ‘Breaking the River’ is as rapturous as it is
sinister. And that’s probably where Devendorf wants it.

There is a blink-and-you'll-miss-it anecdote tucked into one of the many fine documentaries about seminal 20th Century artist Jean-Michel Basquiat regarding the habits of his studio practice. As we watch inspiring footage of Basquiat darting from one piece to the next with rapid-fire brush strokes, a friend or gallerist in a voice over says that it was not unusual for Basquiat to be working on several paintings in the same moment as several radio stations and televisions played in the background. Not much more time is spent on the anecdote, but it feels like a skeleton key into Basquiat's endlessly alluring, neoexpressionist work. And while Bryan Devendorf's solo curio `Royal Green' doesn't possess the only-in-New York vibe of Basquiat's work, there is something shared in its many-channels-open style of creation. Satellite signals, strange voices from lost television documentaries and radio operas are all woven into its fabric _ like it's using these endless tides of media and information to unlock the subconscious. Even its covers _ Bob Dylan, Fleetwood Mac, The National (with a nice big wink), The Beatles _ are like stunning, albeit satanic takes on hymns, or like American standards almost dragged into the underworld. Like the best of Spacemen 3, Sparklehorse or massively underrated San Fran band Skygreen Leopards _ the music makes you queasy in one movement and lulls you into blissmode in the next. It's the very edge of outsider pop songwriting. For all the amphitheaters and festival fields Devendorf has played to over his career, `Royal Green' almost feels like an un-learning and a newfound love of homemade/found/fractured sounds _ and how, if collaged just so, detritus can become stunningly gorgeous and surreal. And not without hooks. Look no further than "Frosty" which could be Little Billy Corgan's decayed demo tape from just before the Smashing Pumpkins appeared on the scene. And the unspooling, slightly unglued dream-pop of "Breaking the River" is as rapturous as it is sinister. And that's probably where Devendorf wants it.

After a decade gap, northern soul legend Dean Parrish has once more hooked up with Acid Jazz Records to release a new single. ‘It’s Time - Purple Mountain Majesty’ is a towering slice of psychedelic soul, that references the work of Norman Whitfield and like those records, comes with a powerful message.

Known predominately in the UK as ‘the Northern Soul star that sold over one million records’, Dean is an esoteric musician who has worked with the likes of Jimi Hendrix, Santana, Herbie Mann and Bob Marley. All whilst following a career as an actor too, appearing in hit US TV series The Sopranos

The iconic status of his hit records such as I’m On My Way, Tell Her & Bricks, Broken Bottles and Sticks has meant that Dean has always been welcome in the UK. In the noughties, he released records with Acid Jazz and was the subject of a Radio 2 documentary by the late and much missed Pete Mitchell. Now 79, Dean has not stopped writing & recording. This latest single presents us with a stunning return to form.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

• Limited Edition Purple vinyl

Talk about a talented family: Willie Nelson and his Sister Bobbie Nelson each achieved massive success in country music. Even in their late 80’s, the Nelsons continue to make music and their influence can be heard through many artists in the genre. December Day, Willie’s Stash Vol. 1 is a collaboration album between the two, and upon release in
2014 it was met with positive reviews from music critics. The album spawned three singles: “Who’ll Buy My Memories”, “Laws of Nature” and “Summer of Roses / December Day”. The liner notes were written by Willie’s frequent collaborator Mickey Raphael. This record comes as a limited edition on snowy white vinyl.

Columbus, Ohio’s Rudolph Johnson drew comparisons to John Coltrane during his career; like the jazz legend in his later years, Johnson eschewed drugs or alcohol and spent his time every day either meditating and rehearsing on his horn. You can definitely hear
a little bit of Coltrane in Johnson’s playing on this, his 1971 debut release for the Black Jazz label, the first of two he recorded for the
imprint and the first he recorded as a leader after some sideman work (most notably for organist Jimmy McGriff); his ability to explore the upper registers and overtones of his tenor sax while retaining control is quite striking. Of course, this being a Black Jazz release, along with the bebop sounds of “Sylvia Ann” and the mid-‘60s Blue Note stylings of “Sylvia Ann,” there’s the soul jazz of “Diswa” and the groove funk of “Devon Jean,” all played by, as is typical on Black Jazz releases, by top-notch sidemen including drummer Raymond Pounds, who’s layed
with everybody from Stevie Wonder to Pharoah Sanders to Bob Dylan, and pianist John Barnes, whose work is very familiar to Motown fans (Supremes, Temptations, Marvin Gaye). Bassist Reggie Jackson, who appeared on the Walter Bishop, Jr. Coral Keys record we previously released, rounds out the quartet. First vinyl reissue of another stellar Black Jazz release!

Calvin Keys’s 1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists— Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash,
who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green. But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys has since become a fixture in the Bay Area jazz scene; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog!

Marc Bolan’s passions included the blues, soul, rock ‘n’ roll, hard rock and disco-soul, and his intent to explore these genres are all visited on this collection of classic album tracks and singles. His influences – Jimi Hendrix, Eric Clapton/Cream and Bob Dylan are all apparent amongst the material on Shadowhead, but the music here is unique.
Bolan’s creative fire produced a phenomenal catalogue of work: the material on this album was recorded over five
years (1972 – 1976), in seven studios, in five countries.
This record provides insights into Bolan’s creative process whilst keeping the essence of the music in its classic
form. Shadowhead showcases the development of tracks such as Precious Star and Groove A Little, and a track that
made its public debut on the CD release, Blues Jam (Dreamy Lady Session). Other tracks reveal many of the
instruments and sounds from the master tapes to enable the working processes to be more clearly understood.
This release marks the first time that this collection has been issued on vinyl.

a 1. Midnight [master version]
[b] 2. Rapids [working version]
[c] 3. Hang-Ups [master version]
[d] 4. Do You Wanna Dance [master version]
[e] 5. Baby Boomerang [master version]
[f] 6. Truck On (Tyke) [master version]
[g] 7. Blues Jam [Dreamy Lady Session] [jam]
[h] 8. London Boys [master version]
[i] 1. Lady [master version]
[j] 2. Buick Mackane [master version]
[k] 3. Stand By Me [working version]
[l] 4. Precious Star [working version]
[m] 5. Fast Blues (Easy Action) [master version]
[n] 6. Dreamy Lady [master version]
[working version]

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

„Lamberts Musik bricht gängige Hörgewohnheiten“ – Die Welt Lambert ist ein Unikat, und das nicht etwa nur etwa deshalb, weil er seine Musik versteckt hinter einer in
Sardinien handgefertigten Ledermaske zum Besten gibt und kein Zuhörer sein Antlitz bislang zu Gesicht bekam. Bereits mit seinem letzten Album “True” ist der Berliner Pianist und Komponist Lambert ganz anonym in die unterschiedlichsten musikalische Identitäten geschlüpft. „Die Miniaturen von Lambert, der ausschließlich mit Maske auftritt, zeugen von einem enormen Gespür für Melodien.“ – Rolling Stone Nun erscheint mit “False” bereits das fünfte Album des inspirierenden Künstlers für welches er für jedes einzelne Stück ein besonderes Alter Ego kreierte, um das Verwirrspiel um seine Identität perfekt zu machen.
Bei Lambert hat diese Verhüllung etwas poetisches, das sein meditativ impressionistisches Klavierspiel im
Niemandsland zwischen Klassik, Jazz und Pop noch etwas entrückter und verzauberter klingen lässt. Lamberts Welt ist nicht nur geheimnisvoll, sondern auch randvoll mit genialer Musik, die sich mit jedem
Titel neu erfindet. 14 neue Kompositionen mit 14 verschiedenen Gesichtern — so erweitert Lambert sein
musikalisches Schaffen um eine breite Fülle stilistischer Einflüsse.

"On Tour" - Delaney Bramlett (g, voc); Bonnie Bramlett, Rita Coolidge (voc); Eric Clapton, Dave Mason (g); Bobby Keys (sax); Jim Price (tb); B. Whitlock (org, voc); Carl Radle (b); Tex Johnson (bgo, cga); Jim Gordon (dr)

This 42-minute-long live album, which was recorded in December 1969 in Croydon, England and was awarded 5 stars by the magazine Rolling Stone, is not only the culmination of Delaney & Bonnie’s creative output, but also marks their connection to the further careers of Eric Clapton and George Harrison. On this particular tour Clapton plays the same mixture of country music, blues and gospel that were to hallmark his own early solo appearances from 1970. He rose to the occasion with consistently brilliant virtuosity; the highlights are a dizzying solo in "I Don’t Want To Discuss It", a lengthy 'Slowhand' passage in "Only You Know And I Know", and a dry fervent introduction to the wonderfully balanced "Coming Home". Vocally Delaney & Bonnie were never better than on this live set, and the 11-piece band sounds musically more close-knit than many a quartet of the times, regardless of whether they are playing a lengthy blues number or a medley of Little Richard songs. It is certainly no coincidence that the band featured here would become Clapton’s own choice for his first solo LP, or that the kernel of this group – Bobby Whitlock, Carl Radle and Jim Gordon – would metamorphose into Derek and the Dominos, or that the bulk of the band would constitute the group that would perform with George Harrison in "All Things Must Pass" and The Concert For Bangladesh, except that their playing (not to mention the recording) is better here. Half the musicians on this record attained near-superstar status less than one year later, and although their fame was fairly short-lived, this is certainly justified, as you will ascertain when you listen to this live performance.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue.

All royalties and mechanical rights have been paid.

Recording: December 1969 live at Fairfield Halls, Croydon (UK), by Andy Johns and Glyn Johns

Production: Delaney Bramlett and Jimmy Miller

It’s about time that our partner in crime Lostsoundbytes joined us for a ride. Kept on the back burner for a while, the debut album by the Belgium-based producer and Vastechoses label honcho couldn’t have come out at a more convenient time. Keeping with the madness that we all have buried within ourselves, Degenerate Brain sounds like it’s been recorded and corrupted by some artificial intelligence in the grips of mental disorder and paranoia. Frantically exhibiting a wide stylistic palette by means of irradiated kicks laid out on top of distressed electronic modulations; worn out electro bangers and slo-mo keepsakes from imaginary performances to crooked minimal wave ramblings led by a man-machine flying off the handle. A seemingly meaningless stroll orchestrated by a mind that has lost control over some data dump coming in hot — which may fry your brain unless you manage to pull yourself out before it’s too late.

'Leone' is the first meeting of electric guitarists Loren Connors and Oren Ambarchi. It's somewhat surprising it's taken this long as these two are connected by ongoing collaborators, like Jim O'Rourke and Keiji Haino. Connors, for more than 40 years, developed an iconic sound tethered to radical permutations of the blues. Ambarchi's own multi-decade transfiguration of the guitar inhabits a rarefied realm of abstracted tones and dissonance pitched between improvisation and composition. This album, like its title, is a sum of parts: solo performances by Connors and Ambarchi bookend a duo. On 'Lorn,' Connors unravels an aggressive ternary form, with an opening section wrapped in distortion and extreme phasing that contrasts against ghostly, distant single notes. Ambarchi's 'Nor,' supplants a guitar performance with melodic, shifting organ-like tones that are swallowed into a fluttering, glitchy squall. On 'Ronnel,' the duo, each audio landscape created by the two slowly rotates and overlaps the other, as if each is drawing the others' portrait on opposite sides of a translucent sheet. Recorded November 2017 by Bob Bellerue at the Issue Project Room. Mixed and mastered by Joe Talia and cut by Carl Saff. Cover illustration by Marissa Huber. Edition of 500; includes download.

"New York, N.Y. is a high point in the work of leading jazz composer and arranger George Russell. Russell was an early advocate for Modal Jazz and the conceptualizer of the influential Lydian Chromatic Concept of Tonal Organization. For this 1959 Decca classic, Russell assembled an all-star orchestra, including John Coltrane, Bill Evans (a frequent Russell collaborator), Art Farmer, Bob Brookmeyer and Milt Hinton, among others. Singer Jon Hendricks provided beatnik-style, stream-of-consciousness narrations that opened and closed this landmark album.
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

Exzellente Compilation mit den Jahreslieblingen der britischen Rough Trade-Shops. Trotz der Pandemie und weiterer Herausforderungen bescherte uns das Jahr 2020 fantastische, neue Musik (oftmals politisch), die hilft, das Leben etwas erträglicher zu machen. Eine spezielle Ehrung het an Andrew Weatherall, der seit den späten 80ern stets Freund und Inspiration für die gesamte Rough Trade-Crew war. Featuring Andrew Weatherall, Jane Weaver, The Avalanches, Jeffrey Lewis, Viagra Boys, Bob Vylan, Soccer96, Bright Eyes, Jockstrap, Dry Cleaning, u.v.a. 36-Track-Doppel-CD. 20-Track-Doppel-LP.

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

Skylax Armagnac's darling who released his first EP just a year ago, which had an international resonance with rave reviews from Resident Advisor, Bicep, Chaos in the CBD, Peach or even soul clap. Rightly some saw it as a resurgence, a modernized version of 90s New York house, silky and elegant in the Bobby Konders, Mr Fingers way. For this new EP, with fantastic remixes of the brilliant Simoncino, our French prodigy is inspired by the beginnings of trance on the title song (and title of the ep by the way) "The world as we know it (masterclass mix)", UK dub and rave influences, as on some Nu Groove releases (notably the first joey beltram) - the lead vocal sample comes from a speech in which Noam Chomsky describes the United States as a violent country and hard. According to the author "If this piece says something, I believe it is that the music and the party should not serve to forget the problems of the world, but rather to find the strength, the resources, the inspiration to solve them." On "Oh La Musique" Armagnac used the sound of his neighbors as a voice sample ! Indeed, during this incredibly complicated period that we are living in, confinement due to the devastating effects of covid 19, one of his neighbors played music really loudly and for 20 minutes ignored the other neighbors who were screaming "oh oh, the music" through the window. "Turning this moment of irritation into a sample to the glory of the music strikes me as pretty funny." Still according to the author. On B1, it’s a house masterclass lesson by the phenomenal & ultra prolific Simoncino, but do i need to remind you how much italians are masters in their way of paying homage to all the best house music that has ever been created & produced ? Good taste is often on their side ! The red zone club is a tense and incredibly effective mix that can be enjoyed either on a house or techno dancefloor, it is clearly a banger. B2 saw the italian master offers us a beautiful ambient mix. And to conclude "On My Own" is according to Armagnac "a title that speaks of the trust that one can place in one's fellow human beings and of emancipation." A superb EP that adds to the long list of must-haves from Skylax Records.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom.

The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

This 180 gram red virgin vinyl LP reissue of the 1958 Bluenote album ‘Art Blakey and the Jazz Messengers’ includes bonus tracks recorded live at the Olympia, Paris with the same personnel, also in 1958.
Together with Art Blakey on drums the line-up includes Lee Morgan on trumpet, Benny Golson on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass .
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.

‘Chet Sings’ by the trumpeter and vocalist Chet Baker is a classic of West Coast cool jazz. Recorded between 1953 and 1956 this CD reissue includes 10 bonus tracks and vinyl inludes 2 bonus tracks.
The collective personnel accompanying Baker includes Russ Freeman on piano & celeste; Jimmy Bond, Carson Smith, Joe Mondragon, bass; Peter Littman, Lawrence Marable, Bob Neel, Shelly Manne, drums; among others. The 20-page booklet features complete information and specially prepared liner notes by Penguin
Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.
SINGS

This reissue of Nina Simone’s ‘Forbidden Fruit’ includes a bonus album, ‘Nina Simone sings Ellington’ plus 2 bonus tracks. On the 1960/1 recording Nina sings and plays piano, accompanied by Al Shackman, guitar Chris White, bass and Bobby Hamilton, drums.
The bonus album was recorded in 1961 with an orchestra conducted and arranged by Ralph Burns. The two bonus tracks are from 1957 with Jimmy Bond on bass and Albert “Tootie” Heath on drums. 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. “With Forbidden Fruit, Simone became one of the defining voices of the 1960s.” Penguin Guide to Jazz

Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

The first release on sister label of SN Variations, Constructive is the music for the third and final season of Tin Star,Tin Star Liverpool starring Tim Roth, Genevieve O'Reilly and Abigail Lawrie. Released on digital and in a limited edition of 300 neon yellow vinyl.Performed by Orchestrate (Mica Levi,Bobby Krilc) and with field recordings by Chris Watson.

In 1978 Pharoah Sanders went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone.

Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever.

With the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players.

Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.

Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish. Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase. Anyway, it is a grand tune.

Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work.

Kurt Vile’s ‘Speed, Sound, Lonely KV (ep)’ was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs - covers of John Prine and “Cowboy” Jack Clement as well as two originals - and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe and Kenny Malone, with Dan Auerbach (The Black Keys) and Matt Sweeney (Chavez, Superwolf) tossed into the mix as well.

Most importantly, it features what KV has called “Probably the single most special musical moment in my life” - a duet with the late John Prine on the songwriter’s well-loved tune, ‘How Lucky’. “The truth is John was my hero for a long time when he came into The Butcher Shoppe to recut one of his deepest classics with me. And, man, I was floating and flying and I couldn’t hear anything he told me while he was there till after he was gone for the night,” notes Vile in a personal statement that accompanies the record. “A couple nights later we were playing ‘How Lucky’ together again; this time onstage at the Grand Ole Opry on New Year's Eve at the turn of 2020. Nothing like seeing John and his band of musical brothers and family and friends playing into the new decade in front of an adoring audience on that stage in Nashville, TN... and, yup, that’s just how lucky we all got that night."

Remastered by Bob Weston, ‘Mountains’ comes back to us as a gold foil-embossed gatefold double LP and includes the previously unreleased original takes of ‘Return to Pirates’, ‘Poison Moon’ and ‘Killed by the Telephone’, which were delivered along with the original master tapes 20 years ago but were omitted from the final album.

The record is completed by a newly recorded orchestral version of ‘Valley of One Thousand Perfumes’ produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann.

At the turn of the Century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music - a fixture of D.C. and Boston rock ’n’ roll via her work in Autoclave and Helium respectively. By 1998, though, Helium was drawing to a close and Timony was feeling uncertain about the future. “I had never been good at the rock ‘n’ roll business, and making a living from being in a band just didn't seem like it was in the realm of possibility for me,” she writes. “I just knew I wanted to make another record because that was the part of being in a band that I liked the most.”

Strut present the first ever international reissue of one of the most sought-after albums from the Black Fire catalogue, Lon Moshe & Southern Freedom Arkestra's life-affirming 'Love Is Where The Spirit Lies' from 1977. This first international reissue of the album features new sleeve notes including interviews and commentary by Lon Moshe, Plunky Branch and band members with original illustrated artwork by Mary E. Greer. Audio was remastered from original tapes by The Carvery. "Lon was creating his own path in his music life at this time," remembers Black Fire's Plunky Branch. "We had met in San Francisco and he had become an original member of JuJu during the early '70s. He then wanted to pursue his own music, primarily in jazz; he was an avant-gardist and loved Tribe, Strata-East and Sun Ra." For his Love Is Where The Spirit Lies album, Moshe drew from musicians within the Black Fire stable. Oneness Of Juju's Jackie Eka-Ete sang and helped to write songs and members of Southern Energy Ensemble contributed, including their bandleader Marvin Daniels. "The band name, Southern Freedom Arkestra, was a proud declaration that this music was from the U.S. South," continues Branch.

Barang Bang Records Archive Series vol. 1

Previously unreleased recordings
Compiled by Gianmarco Liguori

Bernie McGann - alto sax
Kim Paterson - trumpet
Bobby Gebert - piano (side A)
Andy Brown – bass
George Neidorf – drums

Recorded by Trevor Graham in Sydney, Australia (copyright 1966)

There is no more engaging nor distinctive alto saxophone sound on the planet than McGann’s.
Sydney Morning Herald

McGann takes the language of Bebop then bends and stretches it to fit the contours of his own remarkable im-agination.
The Wire

Bernie McGann’s sound is exciting and physical, as heated as any post-coltrane modernist.
Downbeat

A lost treasure of Antipodean jazz

This compilation documents part of an exciting period in Australasian jazz. Recorded in Sydney, 1966, we can hear Bernie McGann was already one of the great Australian jazz stylists. At the time, the only publicly available recording he made was two tracks on the Jazz Australia compilation (1967) (CBS BP 233450).

Two years earlier, McGann was living in Auckland, New Zealand (1963-64). It was here that he worked regular-ly with Kim Paterson, Andy Brown and pianist Dave MacRae, and the basis of this band came into being.

‘Lazy Days’, ‘Chuggin’, and ‘Sky’ were salvaged from a cassette in Kim Paterson’s collection, one of the few remaining copies. Originally intended for a radio broadcast, the master tapes were reportedly destroyed after the session.

‘Rhythm-a-Ning’ and ‘When Will The Blues Leave?’ were taped by Trevor Graham at the Wayside Chapel in King’s Cross. Graham was a Sydney music journalist and ally of the avant garde, with the foresight to capture some of what was happening at the time.

This album is also notable for a rare appearance by the mysterious American drummer George Neidorf (mis-spelt as ‘Neidori’ in the liner notes on the first Soft Machine album), an early influence on drummer Robert Wyatt.

Field recordings of a major artist in strong company – a lost treasure of Antipodean modern jazz.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

Blue Note 1963 - Classic Vinyl Reissue Series Lee Morgan’s magnum opus The Sidewinder — recorded in 1963 and release in 1964 — was both a comeback and a coronation. The prodigious trumpeter had debuted on Blue Note in 1956 at the age of 18, but personal problems in the early-60s forced him off the scene temporarily. His rebound recording turned out to be The Sidewinder, an assured and energetic set of 5 indelible Morgan originals featuring tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. The album became his biggest commercial success fuelled by the irrepressible title track.

Rockabilly Dance floor favourite and good flip side

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

Leroy Smart the self-proclaimed ‘Don’, carries much respect in the Jamaican musical community. His attacking vocal style gives his lyrics and tunes that extra meaningfulness.

Born in Jamaica and orphaned as a young child, Leroy was sent to Maxfield Park children's home and educated at the famed Alpha Boys School. The school was run by nuns who encouraged musical talent and would provide the world with the cream of Jamaica’s artistic talent. Such legends as Don Drummond, Tommy McCook, Johnny’ Dizzy’ Moore, to name but a few, all learnt their musical trade in this strict environment.

Leroy worked with many Jamaican producers, but seemed to find his feet working with Bunny ’Striker’ Lee. With whom he cut many of his greatest tunes. It is from this period that we have compiled this album. Featuring lost to now dubs to many of his classic tunes, like ' Wreck up my Life’, featured here as ’Dub Wrecker’. ’God Helps the Man’ Help yourself to Dub, Pride and Ambition If I should Dub. Fittest of the Fittest Dub for the Fittest and the title track of this selection his self-affirming Mr Smart Mr Smart in Dub.

These work alongside less known cuts that he also puts his musical stamp on .’No Love’ No Love In Dub. which sees him working over the ‘Zion Gate’ rhythm, made famous by Mr Horace Andy. The ‘My Conversation’ rhythm originally cut by Slim Smith but made into Leroy’s own ‘Jah Jah Forgive them’ For They Know What They Dub. All portrayed in his enviable style.

Such was Mr Leroy Smart’s stature in his homeland Jamaica, that when the ‘One Love’ peace concert line-up was put together for the 22nd of April 1978. The best of Jamaica’s Reggae stars was picked to play alongside Bob Marley & the Wailers. Such greats as Dennis Brown, The Mighty Diamonds, Peter Tosh and Inner Circle were chosen alongside the Don himself, Mr Smart. Whose stage shows were always colourful and to say the least eventful..

Mr Smart has continued to release music during the 80’s & 90’s, most notably with ‘She Just a Draw Card’ & ‘I’m the Don’. But as a set we feel this stands up with the best of them. Hope you enjoy the ride...

Respect Jah Floyd.

'How is it that one of Art Blakey’s greatest albums with the Jazz Messengers is so little known? The 1961 edition of the Messengers included Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. In February and May of 1961, this group (with pianist Walter Davis Jr sitting in on two tracks) entered Rudy Van Gelder’s studio in New Jersey and proceeded to lay down Roots & Herbs, a brilliant set of six Shorter compositions including the driving hard bop of the title track, the playful “Ping Pong,” and the clever “United.” The album was eventually released in 1970 and deserves a place among Blakey’s finest recordings.