Buscar:coo

Hört man den coolen Sound von LA LOM mit geschlossenen Augen, kann es sein, dass man sich in einer Welt irgendwo zwischen tropischer Hitze und schwarzweißem Hollywood-Krimi wiederfindet. Musik mit dem „Twang“ von Rockabilly, der Sinnlichkeit lateinamerikanischer Rhythmen und dem ungeschliffenen Sound moderner Independent Music, die schon prominente Fans wie Beck und Vampire Weekend gefunden hat.

Hinter LA LOM, Abkürzung für ”The Los Angeles League of Musicians”, verbergen sich die drei Musiker Zac Sokolow (Guitar), Jake Faulkner (Bass) und Nicholas Baker (Drums/Percussion). 2019 fanden sie sich zusammen um im historischen Roosevelt Hotel am Hollywood Boulevard zu spielen, inzwischen geben sie Konzerte vor Tausenden von Menschen, veröffentlichten erste digitale Singles ihrer Latin- und SoulInstrumentals und ziehen zahllose Fans auf ihre Social-Media-Profile. Ihr Albumdebüt bei Verve Records produzierte Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle)

BONA DISH waren eine lottrige Pop Punk Band aus den Dörfern von Hertfordshire, die die Liebe zu den VELVETS, den SUPREMES und zueinander vereinte. Sie waren cool, gutaussehnend und farbenprächtig. Die Songs sind einfach und zur gleichen Zeit komplex. Das Line-Up aus zwei Mädchen und zwei Jungs brachte eine Spannung ins Spiel, die sowohl sexuell aufgeladen und musikalisch zerbrechlich daherkam. Man hatte immer das Gefühl, dass alles innerhalb von Sekunden wie ein Kartenhaus zusammenfallen könnte, was es aber nur sehr selten tat. Nachdem ihre ,Kassette in einem Rohr"-Taktik bei John Peel Wirkung zeigte, veröffentlichte die Band eine Kassette auf InPhaze und löste sich kurz darauf auf. Hier ist dieses wiederentdeckte Juwel, das eine Lebensfreude und eine Spontaneität zeigt, die die DIY-Szene in Großbritannien aufrüttelte und sich nicht hinter Zeitgenossen wie TELEVISION PERSONALITIES, THE HOMOSEXUALS und MARINE GIRLS verstecken muss. Diese Veröffentlichung ist der einzige LP und CD Release für BONA DISH; die kompletten gesammelten Aufnahmen neu gemastert.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

Paul Weller – der „Godfather of Brit-Pop“ ist zurück!
„66“ heißt sein neues und mittlerweile 17. Studioalbum, welches zu seinem 66. Geburtstag erscheint. Das
Cover wurde von Sir Peter Blake gestaltet. Der ehemalige Sänger und Gitarrist von „The Jam“ zeigt auf
dem Album seine reflektierte Seite, mit viel Melancholie und dennoch auch einem positiven Kern. Die
12 Songs auf ”66” wurden im Laufe von drei Jahren in Wellers Black Barn Studio mit einer Reihe von
Gastmusikern (Suggs, Noel Gallagher, Bobby Gillespie, Erland Cooper, Duo White Label, Hannah Peel,
Christophe Vaillant, Say She She, Dr Robert, Richard Hawley, Steve Brooks, Max Beesley) aufgenommen.
Paul Weller wurde bisher mit 4 BRIT – Awards ausgezeichnet, einen für „Outstanding Contribution to
British Music“

Chet Baker was an American jazz trumpeter, actor and vocalist and a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. The 1989 album Cool Cat contains six tracks, split into 3 instrumentals; ""Swift Swifting "", ""'Round Midnight"", ""Caravelle"" and the 3 vocal tunes ""For All We Know"", ""Blue Moon"" and ""My Foolish Heart"". The songs are written by top jazz composers, including Thelonious Monk, Rodgers & Hart. For the recordings of Cool Cat, Chet is accompanied by pianist Harold Danko, bassist Jon Burr and drummer Ben Riley. Cool Cat is available on black vinyl.

Brian Ray is an American musician best known as a guitarist, bassist, backing vocalist with Paul McCartney's touring band since 2002 and formerly as a musical director and guitarist for Etta James.

They’ve been labelled everything from pop punk to emo to post-hardcore, but Calling All Captains cover all of that and more on (e)motion sickness, their explosive and expansive new collection. (e)motion sickness marks the culmination of that growth to-date, building atop Calling All Captains’ rock-solid musical base with an even wider array of sonic influence and lyrical prowess, and ultimately, making the essence of what they do rather difficult to describe. Really, you just need to listen for yourself.

Released via Sony CMG - This is a reissue of HiM's album, "Deep Shadow & Brilliant Highlights". HIM's third album, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners. Single Black LP Vinyl.

Bringing together the undisputed talents of Nigerian percussionist Aleke Kanonu and soul legend from Alabama, O.C. Tolbert, this 12' created quite the buzz when it was released in New York in 1982. Shops and leading DJs were clamouring for it, but short supply saw it disappear into obscurity. The A-side, 'Happiness' is an uptown style Gospel ballad where Tolbert's gravelly, soulful voice channels years of hurt an pain. The B-side, 'Nwanne, Nwanne, Nwanne', is an Afrobeat disco monster that rattles along on the back of Kananu's awesome percussion skills. Both tracks were written and produced by Jack Taylor, a producer, songwriter and purported gangster from Harlem and released on his own label. This reissue comes courtesy of the good folk of PMG, purportedly cool guys, based in Austria. - Peter Moore,

In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"

Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.

Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

Electro-boogie-machine 'Straight Line' is taken from 'Cool Cool', the upcoming third album by British multi-hyphenate James Alexander Bright. "'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with".

James' passionate voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead over a melange of body-popping LinnDrum beats, a host of swooping, fuzzy synths, and backseat-rocking bass. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, 'Straight Line' was completed with regular collaborator Peter Lyons in East London.

In November 2023 we celebrated NOW’s 40th anniversary with a collection of massive Pop hits – but with 40 years of hits to choose from we had to leave out so many fantastic tracks – so it’s time to continue that celebration with NOW That’s What I Call 40 Years - Part 2 – again honouring the legacy with a stellar selection from the past four decades of NOW. Embark on a musical journey from 1983 right up to the present day. Released on a triple vinyl set pressed on Green, Clear Transparent, and Pink LPs with 43 essential hit tracks. and 100 essential hit tracks across the 5 CD set

Soul Revivers are back with ‘Holding it Down’, the first single from the follow up to their critically acclaimed debut album ‘On The Grove’. • For ‘Holding it Down’, Nick Mansseh and David Hill enlist the help of West London keyboard maestro and producer, Ash Walker, and ace vocalist Lyn Gerald. • Together they’ve cooked up an ethereal but infectious tune, which tips its hat to the great Jackie Mittoo and oozes balmy summer evenings. • Being a Soul Revivers single, the main track comes with a Manasseh dub workout, of course, titled ‘Holding the Dub’.

The fourth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. There´s a price increase on these specific EPs as licensing costs were more expensive than usual.

For its next outing, the Nebraska label has curated a mini best-of EP that serves up a quartet of tunes that have been digital only until now. Side A opens with 'Senza Parole,' featuring a weird and wonderful vocal sound and some loose hand claps under Italo-infused disco-funk drums. 'Let Me Be The One' is a nice tripped pout and slow motion 90s downtempo jam and 'Funkbraska' is an homage to French Touch with filtered synth loops fizzing with sugar goodness over a characterful bassline, and last of all is 'Love + Hate', another low slung hose groove that oozes cool and has a fantastic bassline propping it up.

"Are Possible" is a spark-throwing, undulating fusion of styles played (mainly) on banjo, upright bass and drums, made possible by the individual perspectives of Nathan, double-bassist Casey Toll (Jake Xerxes Fussell, Mt. Moriah) and drummer Rex McMurray (CAVE) work together in an easy-rolling manner, but one that contains an expansive, ass-shaking confabulation of ideas. Music is time in redux: Are Possible"s many moments in time carry details from all over the place. Rex brought a rhythm to the table after drumming on buckets at work, Casey provided a bassline that redirected a previous jam, Nathan brought in a song he"d been fucking with forever and they figured it out together. Their diversity of sources moves easily within the arrangements, rendering a far-ranging set of feels, from transcendental to new country funk to good ol" jazz and the folk-rock, even - all of it drawn out exquisitely when they mixed at Electrical Audio in Chicago with the delicate hands of Cooper Crain upon the faders. The Nathan Bowles Trio have done their due diligence, passing their music through time and space on their way to now.

Reissue of Annette Peacock and Paul Bley's "Dual Unity" album, originally released in 1972 on Freedom Records. Hailed as a pioneer and artistic genius by many, this album captures Peacock in her element alongside husband, Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970, during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog's earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. A statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Guests musicians: Han Bennink (drums) on "M.J." and "Gargantuan Encounter", Mario Pavone (bass) and Laurence Cook (drums) on "Richter Scale" and "Dual Unity".

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Mit seinem schwerelosen und luftigen Ton revolutionierte Gerry Mulligan in der Cool-Jazz-Ära das Image des Baritonsaxofons und trug so maßgeblich dazu bei, es als Soloinstrument zu emanzipieren. Bevor
Mulligan 1960 seine Concert Jazz Band gründete, spielte er eine Reihe sehr populärer Alben ein, bei
denen andere große Saxofonisten wie Lee Konitz, Stan Getz, Paul Desmond und Johnny Hodges seine
“Sparrings”-Partner waren. Zu einem besonderen historischen Treffen kam es 1959 mit dem legendären
Swing-Tenoristen Ben Webster. Für den US-amerikanische Radiosender NPR ist es “ein klassisches Album
zweier Giganten”, das in keiner Jazzsammlung fehlen sollte