quête:here

Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener "Blues Run The Game" to the stunning melancholy of "Milk And Honey," Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut.

"Back in the 1990s original Verve pressings of this record were hot items pushed into prominence in great part by write-ups in The Absolute Sound, particularly by my friend Frank Doris. I found a few, and even a few in pretty good condition, but none of them begin to compare to this double 45 RPM set that offers more of everything, particularly transparency and instrumental separation. ...Ella's on a microphone with a slightly rising high end but if it sounds icy, don't blame the recording or the mastering. It's your system. If it's well-balanced and your cartridge is a good tracker, the vocal transparency and clarity are spooky and the sibilant articulation is precise. These double LPs cut at Sterling Sound use the original tapes, not copies of the original tapes and the clarity and transparency coupled with QRP's drop-dead silent pressings are remarkable. The original pre-MGM buyout LP has a pleasingly nostalgic quality and the added warmth produces a bit more room sound, but in my opinion it can't compare to this reissue unless you like hearing things through rose-tinted loudspeakers. Elegantly produced, arranged and recorded and easy to recommend ..." Music = 9/11; Sound = 9/11 - Michael Fremer, February 15, 2013.

Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 - played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz.

Kendra is excited to release a new 45, featuring a special a bonus track written and recorded during the 'I Am What I'm Waiting For' sessions, as well as a new 45-edit of her instant classic 'Birthday Song.' The A-side 'Fine Right Here,' the bonus cut from Kendra Morris's brand new LP 'I Am What I'm Waiting For' (which has received incredible support from the likes of Rolling Stone France, KCRW, WNYC, Flood Magazine, and countless others), takes a look into the deeply introverted side of Kendra. "This song is about being ok just sitting inside and missing the party," Kendra explains. "It's the antithesis to FOMO." Written to accompany a rainy day, the song feels like you're being enveloped in a hug. Sonically, the track tips its hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears. The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards. Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen.

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen. Other Woes Are Yet To Come Edition (single colored (pink) vinyl, ltd to 220 copies ww)

Das Glasgower Indie-Jangle-Pop-Quartett The Plastic Youth verbindet psychedelische Untertöne mit zuckersüßen Melodien, um etwas Nostalgisches und doch Frisches zu schaffen. Produziert von Gerry Love (Teenage Fanclub) und Ross Cameron (Riverside Studio), ist ihr Debütalbum eine jugendliche Interpretation von Melodie und Harmonie der 60er Jahre, ein Hauch glückseliger Luft, eine neue Perspektive. Und als Bestandteil der schottischen Kultur ein Angebot von unverwechselbarem Indie-Charme über die Glasgower Musikszene hinaus.

The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.

The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

Das erste Live-Album von Van Halen - das Doppel-Platin-Album Live von 1993: Right Here, Right Now - feierte sein Vinyl-Debüt am Record Store Day als 4-LP-Set in limitierter Auflage. Aufgenommen im Mai 1992, als die Band ihre große Welttournee zur Unterstützung ihres klassischen, mit dreifachem Platin ausgezeichneten Albums For Unlawful Carnal Knowledge beendete, liefern Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony über zwei Stunden lang die typischen Van Halen-Hits.

A wonderful soul gem first time on 7" vinyl by the relatively unknown artist Jimmy Messina. No breaks and samples just good vibes and perfect for that soul box. Love is here - a great soul sing a long and a dance floor mover, brung on the sunshine! Do you wanna dance - is a perfect soul dancer x400 copies only...

Das Blackberry Smoke Quintett aus Atlanta, das als "die amtierenden Schwergewichts-Champions des Southern Rock" (No Depression) gilt, ist mit seinem 8. Studioalbum "Be Right Here" zurück, produziert von Dave Cobb.

"Viele versuchen, den heiligen Gral, die goldene Ära des Classic Rock, mit ihren sechssaitigen Eskapaden zu reproduzieren, doch nur eine Handvoll schafft es. Eine dieser Bands, der das in hohem Maße gelingt, ist Blackberry Smoke." - Guitar World

Das Blackberry Smoke Quintett aus Atlanta, das als "die amtierenden Schwergewichts-Champions des Southern Rock" (No Depression) gilt, ist mit seinem 8. Studioalbum "Be Right Here" zurück, produziert von Dave Cobb.

"Viele versuchen, den heiligen Gral, die goldene Ära des Classic Rock, mit ihren sechssaitigen Eskapaden zu reproduzieren, doch nur eine Handvoll schafft es. Eine dieser Bands, der das in hohem Maße gelingt, ist Blackberry Smoke." - Guitar World

The trio of John Medeski, Billy Martin, and Chris Wood did as much to reinvigorate and reimagine jazz as anybody over the last three decades. Now, Real Gone Music is proud to provide the band’s classic second album It’s a Jungle in Here its first widespread vinyl release. That this record includes covers of tunes by John Coltrane, King Sunny Ade, and a mash-up of Bob Marley with Thelonious Monk speaks volumes as to Medeski Martin & Wood’s fresh approach to the jazz tradition; but their ability to compose and perform startlingly original material is what really sets them apart. Black vinyl pressing for optimum sound!

Krafty Kuts and DJ Robert Smith have teamed up to highlight the skills they are best at. Krafty Kuts is known for his unique beats from Hip Hop to Ghetto Funk. DJ Robert Smith on the other hand is famous for his scratches and turntable work. After Krafty passed on a few beats to DJRS about 2 years ago, Smith quickly realized that he wanted to create an EP from these beats with the help of his worldwide connections. The first song to receive rap vocals was "Here I Come" ft. Wildelux, who delivered in no time. The vision was strengthened and more feature requests followed: Supastition, 1773, BambuDeAsiatic and Slimkid3 who took Moonbeam Kelly on board. Within a very short time a masterpiece of first-class artists was created. The "Krafty Smith EP"!

This Fear featuring Slimkid3 & Moonbeam Kelly:
I think we don´t need to announce Slimkid3 of the legendary group The Pharcyde. He is the living legend and voice of 1,2 many Pharcyde songs we all can sing along. His songs in collaboration with DJ Nu-Mark, such as "I know, didn't I feat. Darondo" are world famous. "This Fear" wouldn't be a masterpiece without the incredible voice of Moonbeam Kelly, who was brought to this song via Slimkid. She is an outstanding singer with gangster and soul appeal. It's simply beautiful to listen to her voice.

Here I Come featuring Wildelux:
Wildelux has worked on numerous albums and EPs as a producer over the last 15 years, and performed at shows across the UK and internationally during this time. His motto has always been quality over quantity. His latest album is called "The It Factor".