For many years, Trumpet players battled in a competition
to see who could blow the highest, fastest and loudest in
the land of Jazz. Then came Miles Davis and with him
came a peace and calm descended. He created the
seraphic mood that pervades this groundbreaking album
and established his reputation as an innovative stylist,
while ensuring his place in the pantheon of Jazz giants.
Dewey Jeffries was a renowned jazz pianist for 40 years in the Greater Cleveland area as well as cities throughout the United States and Canada.
He frequently played with jazz giants such as Miles Davis, Benny Carter.
Dewey Jeffries was appeared in the early 70s when he released some singles and then in 1981 he released "This Is For You" an incredible piece of rare modern soul funk.
For Motown and Daptone sounds extimators.
Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi.
- 180g heavy vinyl pressing, reverse board jacket
- Fully licensed Nippon Columbia masters available for the first time outside of Japan
- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland
- Artwork by Nker
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Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara's famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from.
Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin'o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument's sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996.
Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.
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All tracks selected and compiled by Greg Gouty and Maxime Brottes, with the assistance of Ryohei "Nitchiku-kun" Tanaka.
All tracks licensed by Nippon Columbia, Japan.
Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.
Artwork by Nicolas Kerembellec (Nker.fr).
Proofreading by Brian Durr (Diskotopia).
Executive producers: Greg Gouty and Maxime Brottes.
180GWALP04 - Manufactured and distributed by 180g.
Mondo is proud to present the soundtrack to Santa Monica Studio's GOD OF WAR. Composed by Bear McCreary, the soundtrack to GOD OF WAR is truly epic and emotionally powerful. This album features some of Bear's most beautiful compositions to date, bouncing back and forth between solemn and sublime.
Featuring original artwork by Jeff Langevin, and pressed on 2x BLACK 180 gram Vinyl , both the game and the soundtrack are modern masterpieces.
Tete Mbambisa has performed and recorded with many of the giants of South African Jazz (Bazil ‘Manenberg’ Coetzee, Johnny Dyani, Dick Khoza, Duku Makasi, Gideon Nxumalo, Dudu Pukwana, etc...), and is one of the very few South African jazz musicians that can claim to have played with the three jazz generations of the last fifty years. His work as a pianist, vocalist, composer and arranger is a landmark on South African jazz history.
After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground. The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders.
The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.
God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.
The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The
Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.
While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.
In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.
Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.
strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.
"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)
Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.
His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.
This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!
These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.
Black vinyl[30,71 €]
Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”
Purple/Black Marbled Vinyl[39,62 €]
Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”
"Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original.
The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."
This collection showcases some of Coltrane's best recordings as a side artist and features collaborations with such jazz greats as Miles Davis, Thelonious Monk, Sonny Rollins, Tadd Dameron, and Art Taylor. Primarily focusing on Coltrane's recordings as side man from 1956 and 1957 on the Prestige, Riverside, and Jazzland labels, it also includes a guest appearance (and legendary tenor saxophone solo) with Miles Davis on the track "Someday My Prince Will Come" (from the 1961 Miles Davis Columbia album of the same title). The 2-LP vinyl edition contains two extra tracks that are not available on the CD and digital editions: Nutty (Originally released on the album Thelonious Monk with John Coltrane (Jazzland JLP 46) and Birks' Works (Originally released on the Red Garland Quintet album Soul Junction featuring John Coltrane and Donald Byrd). The liner notes were written by Doug Ramsey, winner of the Jazz Journalists Association’s Lifetime Achievement Award. Ramsey is the author of the award-winning biography Take Five, The Public and Private Lives of Paul Desmond. His other awards include two ASCAP Deems Taylors.
Jackie Mittoo is one of Jamaica’s musical giants, a towering figure in the development of reggae whose skills as a keyboardist and musical arranger led to indelible changes in the evolution of Jamaican popular music, helping it to reach international prominence. An exceptionally-expressive player whose mastery of the organ was truly outstanding, Mittoo was also a gifted arranger with an intrinsic feel for what would work best, his key instruction giving shape to ska at Studio One and roots reggae at Channel One and other Kingston studios, as well as lover’s rock at Wackies in New York and with Sugar Minott and UB40 in Britain, Jackie’s own productions later incorporating far-out synthesizer experiments and vocoder techniques. Reggae as we know it would never have existed without Mittoo’s essential input, making him an under-sung icon of Jamaican song. Jackie Mittoo went on to make all kinds of other incredible music in Jamaica, the UK, USA, and Canada before dying of cancer in 1990 at the tragically young age of 42; the dramatic send-off he received at the National Arena in Kingston gives some indication of the stellar status he achieved in his lifetime and the universal respect with which he was regarded. In an exemplary career full of exceptional music, 'Showcase', originally released on Bunny Lee's own imprint Jackpot in 1977, remains one of his greatest, an enthralling collection of stunners that shows why he will always be regarded as Jamaica’s keyboard king.
White Coloured[17,86 €]
Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.
LP[17,86 €]
WHITE COLOURED VINYL
Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.
Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Soul on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off special pressing exclusively for Record Store Day 2021.
Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.
Studio One Soul tracks the link between American Funk and Soul and Jamaican Reggae at the legendary Studio One Records.
Curtis Mayfield, Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - all these artists had a huge influence on Jamaican artists and this album contains versions of songs by all of them. Featuring classic and rare Reggae Funk and Soul cuts from the Reggae giants alongside rarer cuts, Studio One Soul spans over 20 years of classic Reggae from the Rocksteady Funk through to the deep Roots music.
In October last year Pete Josef's second album ëI Rise With The Birdsû came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of ëGiantsû, which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down ëThis Sunû to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration (ëThe Workû) that made it onto Disclosure's Mixmag mix CD. ëMainframeû sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of ëGiantsû is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.
Award winning saxophonist and composer Binker Goldingreturns to Byrd Out with a new trio comprising giants of theexperimental scene Steve Noble and John Edwards for analbum of unparalleled instant creativity: 'Moon Day'. The albumplays with the post truth zeitgeist, using the first major moonconspiracy of 1835 as a launch pad, throwing a sly wink at BuzzAldrin as the trio impart on their own musical odyssey. Thesheer variety of pace, tone and texture across the record isbreathtaking, from Golding's soft, almost weightless opening on'One Giant Step' through to the skittish re-entry of 'Reflection' asthe musicians ricochet off one another, the album bursts withideas and energy, yet remains coherent and singular in itspurpose. Recorded during a gap between the variouslockdowns of 2020, you can sense the release from themusicians as they combine after enforced isolation with atelepathic sense of where to push each other: Noble interjectingboth chaos and order from the drums; Edwards the rocket fuelpropelling the unit on; and Golding soaring and cutting throughon sax. You will not find a better showcase of these musicians'phenomenal abilities. This is free jazz at its most compelling andmost engaging. 'Moon Day' is undoubtedly a future jazz classic.
Limited 1LP Blue Vinyl Award winning saxophonist and composer Binker Goldingreturns to Byrd Out with a new trio comprising giants of theexperimental scene Steve Noble and John Edwards for analbum of unparalleled instant creativity: 'Moon Day'. The albumplays with the post truth zeitgeist, using the first major moonconspiracy of 1835 as a launch pad, throwing a sly wink at BuzzAldrin as the trio impart on their own musical odyssey.
Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London
Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived — and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago’s famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan.
While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid ’90’s.
The title song of the second album by that outfit, “Dirty Pool,” is actually more the balls-to-the-wall, no-compromise, hard-rockin’ electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy.
Indeed, three tracks on this 1997 release, including “Dirty Pool,” were SRV tunes. Other standards, like “Kansas City” and “Floodin’ in California” also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor’s guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing.
This rare combination of qualities really comes out in a slow blues tune like his solo in “Dirty Pool,” which after repeated listens, still makes me head shake in disbelief when I hear it.
“Too Sorry” is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I’ve heard from a lead guitarist since Vaughan; listen to “I Ain’t Superstitious,” “Born Under A Bad Sign” and the funky “Telephone Song” for your proof.
It also helps that Taylor’s drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer’s peppering bass lines in and “Floodin’ in California” is the textbook way electric blues bass should be. Overall, a tight little band.
Taylor’s vocals certainly won’t draw any comparisons to the Wide-Brimmed–Hatted One but he holds his own just fine until it’s cuttin’ time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.
Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.
Debut solo album by the Red River Dialect songwriter. Recorded at the Hotel2Tango, Montreal, by Howard Bilerman. Featuring Thor Harris (Swans, Thor & Friends, Shearwater) on drums and Thierry Amar (GYBE!, ASMZ) on bass, with guest appearances from Tom Relleen (RIP) (Tomaga, Melos Kalpa), Catrin Vincent (Another Sky) and Coral Rose (The Silver Field, Red River Dialect).
David has written five critically acclaimed collections of songs under the Red River Dialect name. The last two albums (released by Paradise of Bachelors) achieved a glowing Pitchfork review and a Folk Album of the Month award from the Guardian. Selected press below.
“Folk Album of the Month. Alert, anti-colonialist folk. Songwriter David Morris brings alternate seduction and disquiet on this worldly album steeped in the British landscape... a wide-eyed, curious creature, willingly alert to the world.” – 4/5 The Guardian
“Animated with a new intensity, the Cornwall band’s fifth album may be its most ingenious and immersive mix of folk and rock yet. It’s also Morris’ most compelling set of songs. He invests small sensations with outsize power, finding joy in sensory pleasures as well as in the mystical inquests that music allows. Even as the record is steeped in the long history of British folk music, that balance of the tactile and the spiritual anchors these songs in the present moment.” – Pitchfork
“The most underrated folk-rock band in Britain. The idea of them as a Cornish-born, Buddhist-inclined Waterboys is more potent than ever. Their fifth album of elementally-battered, rueful and rousing folk-rock ... is as stirringly anthemic as they've managed thus far.” – MOJO
“A beguilingly atmospheric record… imagine Steve Gunn transplanted to Kernow.” – Clash
“Gorgeous and moving, anchored by the heft of the physical but reaching for more. The epic spareness, the way it manages to be both still and an enveloping swirl, reminds me most of Talk Talk. There’s a prayerful intensity to the quiet bits, a listening, wondering awe, that makes the rock payoffs more powerful. The album works as a restless, searching, gorgeous whole. Morris and his band have never been better.” – Dusted
“It’s not often that a band comes along and over the course of nine songs both plays to the tradition and stands it on its ear. RRD has taken the challenge of playing with reckless abandon to heart, generating an album that stands on the shoulder of giants showing no fear.” Folk Radio
Monastic Love Songs continues the tradition that David has established over the course of five albums with Red River Dialect: using a song cycle to articulate a relationship with inner and outer landscapes, inspired by the Taoist approach of observing the movement of the heavens in order to understand the cosmos within, and vice versa. The joyful closing track Inner Smile was initially written as a poem of thanks to his Tai Chi teacher Hollis and takes its name from a Taoist practice.
The songs were written during the final weeks of a nine-month retreat at Gampo Abbey, a Buddhist monastery in Nova Scotia where David took ordination as Buddhist monk. The album title is sincere, with a little tongue-in-cheek. The songs mostly explore human relationships within the community, with outliers: Gone Beyond shimmers with cosmic devotion, in Rhododendron a reverie grows from the shadow of a flower. Steadfast concerns the love to be found beyond the urge to like and be liked, when you can’t avoid that difficult person. Leonard Cohen, on his six years living in a monastery:
“You know, there’s a Zen saying: ‘Like pebbles in a bag, the monks polish one another.’
David considers this album to be a follow up to 2015’s Tender Gold and Gentle Blue. The cover of that lp featured an image of him on top of Skellig Michael, in the years before the island was made famous as the home of the Jedi. He considers the visit to that abandoned Celtic monastic site to be one of the influences that stirred up his motivation. Skeleton Key speaks of what was given up to go, and what he was giving up to leave, referencing the Tibetan concept of the ‘bardo of becoming’.
The album came about through a series of fortunate encounters. David’s friend Tom Relleen visited him at the Abbey in May 2019, mentioning a postponed plan to visit the Hotel2Tango. A spark was sown: this studio had long figured in David’s imagination. Many of the releases on Constellation Records, which he had become a die-hard fan of in his teens, were recorded there. Tom contributed some Buchla synthesizer to the opener New Safe, which concerns healing in emptiness and light.
In May David was given permission by the senior monastics to acquire a guitar, which was swiftly baptised as “Malibu Barbie”. Having let the identity of being a songwriter loosen up, not playing an instrument in six months, he was unsure what would happen. In the single hour he was permitted to practice each day, songs began to cascade. The first, Purple Gold, concerns a reacquaintance with first love. David wrote to the Hotel2Tango asking if they had any days available in mid-July?
Engineer and studio co-owner Howard Bilerman replied that they did, and a date was set. Did Howard know any local drummers or bass players who might do a session? He did, too many to choose from, what kind of style? David decided to ask for his ideal: did Thierry from Godspeed ever do sessions? Howard sent him the demos. Thierry was up for it. On the day he went deep into the cover of traditional song Rosemary Lane, his double bass singing on this and on Circus Wagon.
David asked if there were any local drummers he would recommend? Thierry said “many, what style?” David tried his luck again, “two of my favourite drummers are Thor Harris and Jim White.” Thierry said let’s invite them. Thor, having met David a decade earlier, flew from Austin to Montreal for that July day in the studio. Nine months of watching thoughts come and go in meditation helped David recognise this as an opportunity to practice enjoying the day without expectations.
He is, however, grateful that this album came out the way it did, channelling some of what it was like to live those nine months in a monastery overlooking the Gulf of St Lawrence, frozen and flowing.
Mixed by Jimmy Robertson at SNAFU, London, mastered by DenisBlackham.
In the midst of a global pandemic John Hiatt
walked into Historic RCA Studio B and opened up
a lifetime full of leftover feelings. A half-century
ago, Hiatt lived in a ratty, $15-a-week room on
Nashville’s 16th Avenue, less than a mile away
from the RCA and Columbia studios that were the
heartbeat of what had come to be known as ‘Music
Row’. In the ensuing 50 years, he went from a
scuffling young buck to a celebrated grand master
of song.
With ‘Leftover Feelings, Hiatt teamed up with multiGrammy winning artist and producer Jerry Douglas
and his band, The Jerry Douglas Band. There’s no
drummer, yet these grooves are deep and true.
And while the up-tempo songs are, as ever, filled
with delightful internal rhyme and sly aggression,
the Jerry Douglas Band’s empathetic musicianship
nudges Hiatt to performances that are startlingly
vulnerable.
In life, leftover feelings can remain unresolved, no
matter how often explored. Explicated in a place of
history, a place of comfort. A sacred place, if you
believe the documentation of human expression to
be a holy thing. Here then, with this album, there is
a meeting of bruised and triumphant American
giants. Here are Hiatt and Douglas, creating the
meant-to-be: Love songs and road songs, sly
songs and hurt songs. Their songs and now our
songs. Leftover feelings that edify and sustain.
Based in Bristol, LTO first made waves as part of mysterious electronic collective Old Apparatus. As a solo producer, LTO has since attracted attention with three albums.
LTO's ambition to create ever more ambiguous and far-reaching sonic environments, whilst retaining something of the familiar and physical, have led him to take inspiration from imagined landscapes of the folklore of his Welsh ancestry and of the planet Mars. Both images of enchanted forests battling enraged giants from the underworld and unimaginably hostile planetary events guide this work of great magnitude.
In 'Daear', LTO explores an expansive sound pallet of swelling synths and noise, ambiguous string instruments, thunderous percussion, unearthly voices and his signature sound the piano, mostly processed beyond recognition. The result is a mysterious and deeply textured journey that could be set in both the distant past and uncertain future, on this planet or beyond.
1. SINGLE - EN Crowned by expert, airtight vocal domination from frontwoman Skye “Sever” Sweetnam, “Bystander” owns the listener with its aggressive, fast-paced attack of low, grooving metal riffage, relentless, erratic drums and slinking electronic accents. Tied together with a gritty hook, the track cements what “Cycos” can expect from the heavier side of Initiation. 2. SINGLE - EN Sauntering, forceful and haunting, “No Surrender” track shines as a prime pick on Initiation. The anthem fills the room with a pointed vocal attack and chugging lead riff of the heaviest metal, underlined by creeping electronic murmurs, seamlessly blending several more under-the-radar genre influences ranging from industrial to world while never losing its primary hard rock flavor. 3. SINGLE - EN Purely electrifying and in-your-face throughout, “Vertigo”, unlike its title suggests, is nothing but balanced – connecting like a sucker punch as soon as its electro-laced intro breaks into the first verse. Featuring the production mastery of Juno Award-winning producer Kane Churko (Ozzy Osbourne, In This Moment, Papa Roach), the anthem stands tall with its airtight, gritty pop rock sensibility. 4. SINGLE - EN As unpredictable and infectiously manic as the news itself, “Bad News” is a rollercoaster of charging, metallic rock riffage, jolting rhythms and catchy, sing a-long vocal lines. Poised as one of the most eclectic offerings on Initiation, lyrically, the timely track careens the listener down a road all too universally familiar – exploring tensions and eventual emotional explosions ignited by the cycle of never-ending bad news that has seemingly saturated the world.
Das kanadische Rock/Metal-Crossover-Quartett SUMO CYCO bricht mit seinem dritten Album und Napalm Records Debüt Initiation in eine explosive neue Ära auf - und lädt die Fans in ihre schräge, dystopisch
anmutende Welt von ”Cyco City” ein! Gespickt mit mitreißenden Heavy-Metal-Grooves, poptauglichen
Hooks, elektronischen Elementen und einer Prise Punk bricht Initiation alle Regeln und liefert ein zusammenhängendes und dennoch ungezügeltes Hörabenteuer.
Wie schon die Vorgänger Lost in Cyco City (2014), Opus Mar (2017) und unzählige Singles basiert Initiation auf dem fantasievollen Schauplatz ”Cyco City” und baut auf dem Thema, den Charakteren und
den verschiedenen ”Gangs” auf. Der lyrische Inhalt ist von der Lebensrealität der Band inspiriert - mit
zeitgemäßen, persönlichen Themen wie Liebe, Aufopferung, Angst und Empowerment.
Initiation setzt seine meisterhafte Heavy-meets-Pop-Attitüde fort, bevor SUMO CYCO mit Vollgas im
zuckersüß verpackten Albumabschluss ”This Dance Is Doomed” enden (verschiedene Varianten des Albums enden mit dem unverblümt selbstbewussten ”Awakened”). Am Ende von Initiation werden sich
Hörer fragen, was genau SUMO CYCO nicht können - was sie zu einer vielversprechenden Band macht,
die sich durch ihre Originalität stets von der Masse abhebt.
Ooh, aah, ooh I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up
All sounds recorded during the creation of the films “Coming of Age” (2015) and “Initiation” (2016). Featuring Mosaku and Retabile Lehselo. Day 1 and Day 2 recorded during ceremonies on January 25 and 26, 2014 in the village of Dreihoek in the Ha Sekake District of Southern Lesotho. Additional footage recorded in the summer and autumn of 2013 in Dreihoek and the surrounding mountain pastures.
Superb unreleased soundtrack from British 1972 sex comedy starring Gabrielle Drake (Nick Drake’s sister) and Rchard O’Sullivan (Gilbert O’Sullivan’s brother!). Brilliant music on many levels, 17 sexy tracks of swinging jet-set jazz, groovy scatty vocals, hell it must be good because it’s on Trunk Records.
Take yourself back to the fleapit cinemas of the early 1970s. My home town of Aldershot had two - the ABC/123 (with three screens) and The Palace (just one screen, and anything but palatial). Au Pair Girls, released in 1972, was exactly the kind of soft porn “comedy” flick with a vague plot that would, without doubt, have been playing as part of a double bill to the regular “dirty mac brigade”. Such films and such establishments guaranteed the small crowd regular titillating wide screen visions of nude women in preposterous situations and fulfilling preposterous fantasies.
The title of Au Pair Girls suggests it all of course; yes, four young women fly into London from Europe and Asia, are sent to their new employers and find themselves in unexpected and unusual situations pretty fast. There is of course full nudity, crudity and a large slab of cheese on the menu.There is also no real comedy, a sprinkling of infamous character actors (Richard O’Sullivan, John Le Mesurier), and “UFO” actress Gabrielle Drake (sister of Nick Drake) wearing nothing at all. If anything, the film has maintained a vague middle aged male following because of Gabrielle.
But there’s little to save this film from contemporary criticism - its outdated view of life, rights, sex and taste sit uncomfortably today. But the jet set soundtrack by Roger Webb was worth saving.
By 1972 Roger Webb’s career in film and TV music was taking off. He was an established songwriter and live pianist with a jazz trio. He’d already penned a few British scores and was just starting on a formidable future with library companies including Chappell, de Wolfe and Capitol. His route to Au Pair Girls was accidentally through Norman Newell, one of the giants of the post war music industry.Actress and performer Dee / Deanne Shenderry had asked Newell to recommend an artist to arrange her up and coming album. New;ee recommended Roger Webb.The two worked together and some music was produced, but to my knowledge only got to acetate stage (possibly for Apple Records). Dee husband was Kenneth Shipman, a co-owner ofTwickenham film studios.And so when Kenneth Shipman started pre
production of Au Pair Girls, Roger Webb was an easy go-to for film music composition.
Many years ago there was an original reel / master for Au Pair Girls. It was transferred to CD, DAT and cassette circa 1990 and the rapidly degrading tape was subsequently misplaced, lost or just binned. So all we had to work with was a rather shaky transfer from nearly 30 years ago, one which included numerous wobbles as well as speeding up and slowing down moments.The job of rescuing all this was left to Jon Brooks, my hero for all such musical problems. The end result is what you hear on this album. It is by no means sonically perfect but it is all we will ever have.
It’s certainly not Roger Webb’s best ever score (I have more of his ace work coming) but it has a certain charm and relentlessness.The lyrics were written by Norman Newell, and I can imagine the pair having a huge amount of fun putting the score together and recording it, with - as you’d expect - a pretty tight band and lively vocal group.The main theme does, as one reviewer state, “go on a bit”, but there’s enough musically here for me to get excited about and really want to “stick it out”. So I have.
Special situations call for special measures: Under the flag of this motto, LAMB OF GOD delivered two of the most impressive livestreams of 2020 last autumn. On Friday, September 18th, 2020, the groove giants from Virginia presented their new self-titled album in full length to their dedicated fans worldwide – directly and live from their own studio in Richmond, the creative home of LAMB OF GOD. With a stunning live performance in an unusually intimate setting, the Americans managed to ban the demons of the current situation and transfer the gripping energy of their live concerts to a digital space. This concert was now immortalized as a live release: "Lamb Of God - Live In Richmond, VA" captures one of the most important metal bands of the 21st century with all their fighting spirit and enthusiasm. This release is more than a live album: It is an important testimonial of the willpower of LAMB OF GOD facing the most difficult odds that Blythe and Co ever were confronted with.
This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.
On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.
The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.
When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.
• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu
Overview:
British hard-rock heroes, Thunder, release their 13th studio album ‘All The Right Noises’ on 12th March 2020. The album is a return to the full-throttle sound of Thunder that has seen them create a hugely successful 30+ year career at the forefront of British rock, all built around the lifelong friendship of vocalist extraordinaire Danny Bowes and songwriting genius and guitarist Luke Morley. ‘All The Right Noises’ is an intense confection of illicit charms that reasserts their authority as the number one band in the land. Recorded in the months leading up to the first Covid-19 lockdown, it was originally due for release in September 2020. Strange to reflect then on how much of the new material appears to address the challenging new world we now inhabit. On the album, Luke says “ All the songs were written and recorded pre-Covid. But it is interesting how if you look at some of the tracks through the prism of Covid they still make a
lot of sense.” The volcanic lead single from the album, ‘Last One Out Turn Off The Lights’ could easily be mistaken for world-ending lockdown rage. But, says Luke, “That was directly about Brexit, but you could apply it to everything else.” The track is indicative of both the ferocity and message of the album as a whole, with subjects tackled including depression, mental health, and diversity
‘All The Right Noises’ follows on from 2019’s stripped back and reimagined album, ‘Please Remain Seated’ which continued their consecutive Top 10 UK Album Chart run since their ecstatically received comeback six years ago. It is another chapter in the band’s incredibly successful history that has seen them create a succession of some of the most highly-regarded rock albums of the past 30 years. The key to their renown: brilliantly conceived top-drawer material. Thunder is the last of the true British rock giants.
Overview:
British hard-rock heroes, Thunder, release their 13th studio album ‘All The Right Noises’ on 12th March 2020. The album is a return to the full-throttle sound of Thunder that has seen them create a hugely successful 30+ year career at the forefront of British rock, all built around the lifelong friendship of vocalist extraordinaire Danny Bowes and songwriting genius and guitarist Luke Morley. ‘All The Right Noises’ is an intense confection of illicit charms that reasserts their authority as the number one band in the land. Recorded in the months leading up to the first Covid-19 lockdown, it was originally due for release in September 2020. Strange to reflect then on how much of the new material appears to address the challenging new world we now inhabit. On the album, Luke says “ All the songs were written and recorded pre-Covid. But it is interesting how if you look at some of the tracks through the prism of Covid they still make a
lot of sense.” The volcanic lead single from the album, ‘Last One Out Turn Off The Lights’ could easily be mistaken for world-ending lockdown rage. But, says Luke, “That was directly about Brexit, but you could apply it to everything else.” The track is indicative of both the ferocity and message of the album as a whole, with subjects tackled including depression, mental health, and diversity
‘All The Right Noises’ follows on from 2019’s stripped back and reimagined album, ‘Please Remain Seated’ which continued their consecutive Top 10 UK Album Chart run since their ecstatically received comeback six years ago. It is another chapter in the band’s incredibly successful history that has seen them create a succession of some of the most highly-regarded rock albums of the past 30 years. The key to their renown: brilliantly conceived top-drawer material. Thunder is the last of the true British rock giants.
Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.
Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.
He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.
The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.
Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.
Fountains of Wayne is one of those rare bands that digs back into what pop music is all about -- good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The songwriting is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album - very few albums released in the 90’s are this pleasant, charming, and all-round likeable. The record is now available on transparent red coloured vinyl, in a limited edition of 1500 copies.
The shoegazing giants Slowdive had their track In Mind remixed by Bandulu and Reload. Bandulu take the minor chords and stretch them into a dub- inflected whirlwind. The standout is the Reload mix by Tom Middleton & Mark Pritchard (aka Global Communication). The result is a shimmering, blissful track with downtempo rhythm and futuristic soul. The ambient, experimental techno remixes are cut on 45 rpm, but there are several DJs who preferred to play this at 33 1/3 rpm.
This is a limited edition of 4000 individually numbered copies, pressed on translucent blue & red swirled vinyl. The package contains an insert with Music On Vinyl’s Slowdive catalogue.
ACCEPT ARE BACK! The German kingpins of heavy metal will release their new, eagerly-awaited studio album via Nu- clear Blast on January 15th 2021. The ingenious title of the masterpiece is “Too Mean To Die”.
Speaking of heavy metal kingpins, when ACCEPT first launched at the end of the 70s, the metal genre didn’t even exist - at first the band could only be labelled with the (quality) seal “crazy loud and crazy wild”. Today we know that this was (and is) metal par excellence. And we also know that ACCEPT opened the door to thrash metal, inspiring giants such as Metallica. Guitarist Kirk Hammett recently stated in the German magazine “Gitarre & Bass”: “Wolf Hoffmann has a huge influence on me.“
ACCEPT, who once had their origins in the city of Solingen, a city of sound, have been a worldwide music phenomenon for more than 40 years. They still impress with razor-sharp guitar licks and a steel-hard sound. The band created all-time metal classics like “Balls To The Wall”, “Metal Heart” and many more.
Countless world tours and headline slots at the biggest, cutting-edge festivals cemented the band’s reputation as one of the best, hottest and loudest live acts ever. In addition, the band has sold millions of records, has achieved gold status in the USA, top 10 chart positions worldwide and a number 1 album (Germany, Finland) for “Blind Rage” (2014).
Now with “Too Mean To Die” their 16th studio album is in the starting blocks - it is the fifth album that US vocalist and front man Mark Tornillo has put his incomparable vocal stamp on.Recorded in the world music capital of Nashville (USA), ACCEPT’s music was once again produced by British master producer Andy Sneap, who is responsible for the mix. Sneap, who works for Judas Priest and Megadeth among others, has also been responsible for all ACCEPT productions since 2010.
Special circumstances often lead to very special albums. This is certainly true for “Too Mean To Die”, which of course alludes to the Corona period, although in a different way than one might assume. Hoffmann says: “Its to be expected that many musicians will address the Corona situation in their songs. There will certainly be slogans for cohesion, through which positive vibes should be spread, which is also good. But we have decided to not let ourselves be influenced by it. The fans will get a hard, direct and uncompromising metal album, but of course accompanied with a wink: We are too mean to die! Weeds do not go away! ACCEPT do not let themselves get down!”
Wolf isn’t wrong - the title track is a classic Accept cracker: dynamic and unwavering, turned up to eleven!
Zombie Apocalypse’, also relentless and hard, strikes the same note in the band’s signature style.
The first single - which will be released on October 2nd 2020 together with a remarkable video - is different. Titled ‘The Undertaker’, its a terrific midtempo number with great vocals and a built-in character that chugs along – certain to deliver some mermorable live moments! According to Wolf Hoffmann its one of the most catchy, pleasing pieces of the album.
New to the band, and thus to be heard for the first time on an ACCEPT album, is Philip Shouse (Gene Simmons Band, among others). The US guitarist fights hot duels with Hoffmann, while Uwe Lulis makes the guitar trio perfect and pro- vides the right rhythm. “Phil was part of our orchestra project and was also completely convincing live. We recognised his great talent immediately and simply didn’t let him go,” explains Hoffmann.
Just how varied the ACCEPT guitar trio performs on the new album is proven by one of the secret highlights: ‘The Best Is Yet To Come’ – a beguiling ballad in which Mark Tornillo is at his best. The metal world knows that Mark can scream like no other, but here it shows once again that the frontman can also sing magnificently. “Mark sang this, for us rather unusual song stunningly well. The fantastic thing about Mark is that he not only masters the typical metal screams, but can also sing melodically and beautifully. He proves this impressively in this song”, chief guitarist Hoffmann raves.
In addition, ACCEPT have strengthened their team even further with newcomers Martin Motnik (bass) and Philip Shouse (guitar), thus forming an unbeatable team together with “Drum God” Christopher Williams and “Rhythm Mas- ter” Uwe Lulis.
There’s no doubt that with “Too Mean To Die” Accept are once again playing at the top of the Champions League of the genre. Wolf Hoffmann & Co. present the (music) world eleven masterpieces at the beginning of 2021 - eleven songs for eternity!
Five years have passed since Pete Josef's debut album "Colour" caused a sensation worldwide amongst music lovers and critics alike. Since then, it's hardly surprising that his steadily increasing fanbase have been awaiting its follow up impatiently. "I Rise With The Birds" will be released in October on Sonar Kollektiv and one can say without doubt that the wait was worth it. The album's ten tracks offer gold until the last note of music, and an hour of food for thought about life's ups and downs. The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years merging jazz, soul, pop, and electronic music and collaborating with Manu Delago, Rag'n'Bone Man and Roni Size among others.
The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.
Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.
Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.
"Omne trium perfectum" is an ancient Latin phrase suggesting everything that comes in threes is perfect, or, every set of three is complete. And in this case, it certainly rings true as the third single from The Allergies' third album 'Steal The Show' is pure musical gold…
Mixing it up amongst international hip-hop big guns - ASM the boys get the floor moving with 'When The Heat Comes Down'. The ASM crew have been doing hip hop right for over 10 years and have collaborated with some giants of the music world including Bonobo, Wax Tailor and DOOM.
Bombastic and always strutting, the track is built around a bouncing guitar riff and classic funk horn stabs - the perfect home for some upbeat party raps from Green T and Funk E Poet. We're inclined to agree - when the heat comes down they're definitely coolin'…
Honey LaRochelle is a 'Big Bad Woman' and she'll eat you alive. And that's exactly what she threatens to do in the track of the same name… It's a hand clapping, foot stomping, 12-bar fiesta on a jazzy piano rhythm and blues tip. Yes Ray Charles himself would be happy with this one and as an added bonus The Allergies use the instrumental gaps to showcase their skills on the decks.
