NRG is one of the most important artists the rave scene ever saw, with an endless string of classic releases under his belt!
This box set contains the vast majority of his back catalogue, gloriously remastered, as well as brand new remixes from some of the most talented people in the business old skool and new: Altern 8, New Decade, Hyper On Experience, Bay B Kane, Luna-C, Paul Bradley, and Al Storm.
Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.
Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman
An onslaught of determined rhythms interlace in a glorious cacophony for the dance floor on Kim Dürbeck's latest. The Norwegian/Vietnamese artist unleashes a formidable din of percussion across six new pieces for Lek records.
A club record that takes furtive glances at the experimental, Lek003 is hardly an exercise in restraint as it carves its way through jungle and drum n bass to find its place on today's impetuous DJ booth where a new youthful energy has seen tempos reach heady heights.
As ever Dürbeck's Vietnamese heritage is strong as he weaves esoteric textures through the tapestry of monstrous kick drums and snares. The record eschews the conformity of a four to the floor, for something more assertive. From the familiar Amen constructions of a track like "Phu Yen Flow" to the more extreme outer edges of IDM with a track like "Wipeout", each track utilises the break beat in different adaptations throughout.
At the other end of the spectrum, Patås tames of "Nuoc Mam is my holy water" for a more tempered version and lets our head up for air, before Dürbeck brings the ruckus with his army of irreverent drum machines. There is no quarter given with perfunctory designs on the dance floor and the club context.
Spatial & Co is a synth-drizzled, spaced-out bass-heavy discoid-funk masterpiece from French disco lord and Arpadys maestro Sauveur Mallia. Recorded for French library label Tele Music, in 1979, it's by turns cosmic funk and creeping crime funk, bursting with low slung, k-i-l-l-e-r basslines, loping drum breaks and sparkling percussion. It's so funky it hurts.
Confidently swaggering out the gate is "Future Vision", with its loping yet dextrous bassline across strutting beats setting the scene. "Cosmic News", with its live crowd noises over killer bass work is reminiscent of Bernard & Nile's "Chic Cheer". The bass vs synth workout "Baby Bass" increases the propulsion whilst the dark and mysterious vibes of "Star Odyssey" serve as cosmic respite from being overpowered by funk. The temperature and tempo are raised with the bouncing sophisticated funk of "Meteor One", a slinky interstellar instrumental of the highest order before the sultry, melodic "Bass For Love" offers some attractive slow-mo sleaze to close out the first side.
Opening up Side B, the menacing, beatless "Space Alert" sounds like all those sci-fi theme tunes from your childhood, synthesised into one glorious (black) whole. "Galaxy Wars" is next, another majestic cosmic gem, sans drums. The ultra-percussive flex of "All The Bass" sees the return of the frenetic funky bass and neck-snapping drums. The stretched out funk of "O.V.N.I. Telex" is irresistible and cavernous in scope whilst the swirling, dramatic "Galactics" is an ominous yet melodic wonder. The throwaway funk-lite "Animals Bass" is a bit of a daft way to close out this otherwise flawless set but, hey, flirting with perfection is probably always more fun than actually achieving it.
Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!
The audio for Spatial & Co Vol. 1 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.
J. Alberts “config” EP for Couldn’t Care More is one more step into his very own microcosm of electronic music wizadry: There is the flickering groove of “Armor”, myriads of cut-up sonic pieces morphed into a glorious track somewhere next to Techno and House and there’s the distorted quiet beauty of slowly breathing “config4”, ambientesque but filled with tension like Huerco S does it. There are the holographic breakbeats of “config5”, with voice samples and synth stabs melted in New Yorks fiercest heat and there’s the sped-up ambient groove of ghostly “config2”. The last track “Court” sums it up, a breathless groove mutation topped by spheric keyboard sounds. J. Albert gets it all together and he does it with a quite uncanny certainty. A different level.
Nach dem Erfolg des offiziellen Anno 1800-Vinylsoundtracks feiern Black Screen Records und Ubisoft Mainz die populäre Aufbausimulation mit "The Four Season": Der opulente zweite Soundtrack entführt in die lebendigen musikalischen Welten der vier Erweiterungssets des Spiels und erscheint pünktlich zum 25jährigen Jubiläum der Traditionsmarke am 31.03.2023, natürlich auf audiophilem 180g Doppelvinyl. Alle neuen Musikstücke werden zur gleichen Zeit auf Spotify verfügbar sein. Das Album wird erneut in wunderschönem Klappcover mit Artworks von Ubisoft Mainz ausgeliefert und kommt mit kostenlosem Download-Code für den digitalen Soundtrack, inklusive 8 Bonustracks. Musikalisch dokumentiert die Doppel-LP nicht nur die enorme inhaltliche Abwechslung der vier Anno 1800-"Seasons", sondern auch die stilistische Bandbreite der Komponisten Steffen Brinkmann, Jochen Flach, Armin Haas, Alexander Röder, Tilman Sillescu und Matthias Wolf (Dynamedion). Die Stücke erzählen von versunkenen Schätzen und reichen Ernten, von Expeditionen in die Arktis und ins gefährliche Land der Löwen, von der Eroberung des Reichs der Lüfte oder dem überwältigenden Ausblick von den majestätischen Dächern der Stadt. Kurzum: Die Welt von Anno 1800 und der facettenreichen Spielerweiterungen wird als akustische Reise erlebbar gemacht. Anno 1800 ist eine von Ubisoft Mainz entwickelte und von Ubisoft veröffentlichte Aufbausimulation, in der Spieler die industrielle Revolution anführen, Metropolen errichten und mit Diplomatie, Handel oder Krieg um die Vorherrschaft wetteifern. Das erfolgreiche PC-Strategiespiel begeistert mehr als 2,5 Millionen Spieler auf der ganzen Welt mit einer Kombination aus bewährten Spielelementen, innovativen Neuerungen und dynamischem Spielverlauf in einer der spannendsten Epochen der Menschheitsgeschichte.
red marbled vinyl
Crisp beats open a serene, relaxing track in Celestial Beings. Smooth synth work fades in and the dreamy atmosphere builds and smoothly carries the listener along for a blissful ride, which Aural Imbalance fans will be well accustomed to.
Washing in with a lush pad-work intro, light analogue breaks creep in gradually over a deep brooding bassline, setting the tone for a delightful pad-laden journey through time and space.
Smooth glorious pads & light hi-hats welcome exquisite beat-work using the classic Circles break, a collage of delicate samples lightly adding to the ambient tone of the track.
Another treat for the ears with Caladan Shores, Aural Imbalance conjuring serene atmospheric vibes with graceful, elegant pads and synths complemented by that classic understated 808 bassline.
Words by Chris Hayes (Spatial / Red Mist)
The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.
Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.
Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.
The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.
One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.
Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”
The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.
The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.
This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.
Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.
Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.
The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.
Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.
Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.
The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.
One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.
Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”
The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.
The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.
This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.
Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.
Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.
Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
Yellow Vinyl
Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.
Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.
"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.
El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.
El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.
At last, these two glorious rare groove classics are legally back on 7'. For the first time they are longer than the original 7' with all the essence of the full length 12' versions. Unlike bootlegs, these come from the original tape sources Roy Ayers first produced with all his finesse for his Uno Melodic label in 1980. Sylvia Striplin sang in Eighties Ladies and Aquarian Dream, but she's best remembered for these two songs from her one album Give Me Your Love'.
Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!
On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.
A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.
On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.
Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.
Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!
Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)
Castelli is the musical moniker of Milan’s Stefano Castelli. His debut album, Anni Venti, combines all the synth history of his native Italy with soulful song writing. Produced by Luca Urbani, the record draws on inspiration from the analogue sounds of pop and wave whilst commenting on our contemporary condition. Rumbling basslines and clean beats are elevated by the glorious chorus lines of the opening “Festa.” The tracks on offer are short and bursting with energy, like the lilting “Cosmonauti” or the addictively upbeat duet of “Wave Goodbye.” A retrospective future dawns in the vocoder and rhythmic pulses of “Cani,” electro echoes of a man machine world. A range of styles are drawn on to create Castelli’s signature sound, his band background merging with synth warmth in “Paradiso Tropicale.” Italy’s famed soundtracks come to the fore in the measured drama of “Quando Guardi I Film.” What permeates the collection is a tender hopefulness, one that culminates in the enthusiasm and electronic exploration of “Nave.” A ten track journey from the heart of Milan.
Repress
Palms Trax signals the arrival of his new label CWPT with ‘Petu’, a new single featuring South African vocalist, Nonku Phiri. Originally debuting in dub form during the Berlin-based DJ and producer’s set at The Music Locker as part of Grand Theft Auto Online, ‘Petu’ re-emerges here as a soulful collaboration, neatly complimented by a wide-eyed take from Masalo.
Initially written as a slow-heating instrumental to connect the various musical dots across a DJ set, Palms Trax nonetheless had a vocalist in mind throughout, a fresh voice to lend ‘Petu’ universality and energy. Introduced through mutual friend Esa, Johannesburg’s Nonku Phiri draws on her signature style influenced by vintage Afropop styles and folk traditions, delivering a smooth and vulnerable tale of desire. Triumphant brass recorded by instrumental collective Jungle By Night adds to the depth of instrumentation and feeling throughout, each element driven by Palms Trax’s ebullient percussion and an altogether celebratory energy felt across both the original and dub cuts.
Closely associated with Dutch dance music staple Rush Hour Records, Masalo subtly raises the tempo on his high-energy rework of Petu, spinning off the interconnected elements of the original into a memorable and gloriously Italo-tinged house trip.
Established in 2021, CWPT will play home to Palms Trax original productions alongside collaborations, mixtapes, new-generation artists and vital reissues. An online blog will feature interviews, reportage and charts exploring the stories past and present at the fringe of Palms Trax’s wide-reaching record collection.
