Поиск:james co

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

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

PHILLIP BALLOU Pittsburgh-born Phillip Ballou’s earliest years were spent in the gospel field; after he moved to New York City in the ‘70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like “Get Ready For This” and “You To Me Are Everything,” touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982. Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he’d met in 1974 during Nathan’s first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs – “Ain’t Nothing Like The Love” – got some interest from famed Philadelphia producer Thom Bell who presented it to The O’Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981. Phillip continued his own musical journey, touring and recording with James Taylor and Todd Rundgren. In addition, Phillip’s name graced recordings by George Benson, Billy Ocean, Kashif, Nona Hendryx, Jonathan Butler, Teddy Pendergrass and Melba Moore; in 1981, he began recording with Luther Vandross and became a part of Luther’s touring band for many years, as well as singing on productions by Luther on Aretha Franklin, Dionne Warwick and others, continuing his association with him until Luther’s 2003 stroke. Phillip returned to his gospel roots in 2004 as Minister of Music at a Brooklyn church and passed away in March 2005, aged 55 .We are proud to bring you Phillips second single on Super Disco Edits, and perhaps his best! "We'll be together" is an uplifting song with an almost gospel tinged melody. But the songs lyrics portray a love thats just about to blossom.

They Say: “New directions in contemporary scoring”.

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

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

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

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

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

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

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

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

Multidimensional duo Divide and Dissolve release their third full length studio album ‘Gas Lit’ on Invada Records, produced by Ruban Neilson of Unknown Mortal Orchestra.
Divide and Dissolve members Takiaya Reed (saxophone, guitar, live effects) and Sylvie Nehill (drums, live effects) create instrumental music that is both heavy and beautiful, classically influenced yet thrillingly contemporary and powerfully expressive and communicative. Their music has the ability to speak without words and utilises frequencies to interact with the naturally occurring resonance.
The CD is presented as a digipack.
The vinyl is pressed on 180g Transparent Red vinyl and comes housed in a heavyweight spined sleeve with printed insert and digital download card.
‘We Are Really Worried About You’ presents a formidable saxophone sound giving way to a surge of crushing percussion and heavy guitar riffs. ‘Denial’ is a potent blend of Takiaya’s ominous and unsettling sax that blows wide open into riff city for almost eight glorious minutes. Both tracks encapsulate the message behind the music: to undermine and destroy the white supremacist colonial frameworks and to fight for indigenous sovereignty, black and indigenous liberation, water, earth and indigenous land given back.
For fans of James Baldwin, Osa Atoe, Adrienne Davies, the ocean and freshwater, breath/breathing, Toni Morrison, Octavia Butler, Afro futurism, indigenous futurism, indigenous sovereignty, slavery abolition, resistance, the forest, bodies of water, being submerged, the railroad and Ai Ogawa.

Mondo, in collaboration with Back Lot Music, is proud to present a vinyl pressing of James Newton Howard's Golden Globe Nominated score to Universal Pictures’ powerful new film from acclaimed filmmaker Paul Greengrass, News of The World.

Set five years after the end of the Civil War, News of the World follows Captain Jefferson Kyle Kidd (Tom Hanks), a veteran of three wars, who now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe.

In the plains of Texas, Kidd crosses paths with Cicada, aka Johanna Leonberger (Helena Zengel, System Crasher), a 10-year-old taken in by the Kiowa people six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd reluctantly agrees to deliver the child to where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.

The film is a moving exploration of our present through the lens of our past, and the music by eight-time Academy Award® nominee James Newton Howard (The Hunger Games, The Sixth Sense, Signs, The Fugitive) is innovative, emotional, and beautiful, as it follows Captain Kidd’s journey from regret to redemption. A haunted, and healing sound of vintage Americana floods from your speakers as the tender strings and piano guide you over gorgeous landscapes.

Award-Winning Welsh Multi-Instrumentalist The Anchoress Returns With Her New
Studio Album ‘The Art Of Losing’
Featuring Guest Appearances From James Dean Bradfield (Manic Street Preachers)
And Sterling Campbell (David Bowie, Duran Duran)
“A devastatingly powerful voice.” MOJO “Hounds Of Love, updated for the 21st century.” PROG “Davies is making music like nobody else at the moment.” NME
‘The Art of Losing’ is the second album from Welsh multi-instrumentalist The Anchoress (aka Catherine Anne Davies), following up on her critically acclaimed debut album,
‘Confessions of A Romance Novelist’, which was named amongst the Guardian critics’
Albums of the Year, won HMV’s Welsh Album of the Year, Best Newcomer at the PROG
awards, and a nomination for the Welsh Music Prize.
Written and produced by Davies, the new album features guest performances from
James Dean Bradfield (Manic Street Preachers) and drums from Sterling Campbell (David Bowie, Duran Duran) along with the mixing talents of Dave Eringa (Manics, Wilko
Johnson) and grammy-award winner Mario McNulty (David Bowie, Prince, Laurie Anderson).
‘The Art Of Losing’ ambitiously navigates the topic of loss in all its forms and was written
and recorded during an unfeasibly busy few years as Davies found solace and purpose in
a range of projects whilst navigating her griefs. Most recently this came via the release
of her collaborative album ‘In Memory of My Feelings’ with Bernard Butler (on Pete
Paphides’ label Needle Mythology), duetting with the Manic Street Preachers on ‘Resistance Is Futile’, and being personally invited by The Cure’s Robert Smith to perform at his
Meltdown Festival. She also brought a new generation of ears to legendary Scottish rock
band Simple Minds, where she spent much of the last five years appearing on the ‘Big
Music’ (2015) and ‘Walk Between Worlds’ (2018) albums.
The Anchoress will launch the album with a special show at London’s Queen Elizabeth
Hall in July 2021.
*2 LP 140gm Black Gatefold Vinyl Edition with lyric printed inner bags.

Nachpressung! Der Name FRIERSON mag dem ein oder anderen bekannt vorkommen. Es war der Nachname von WENDY RENE, deren Werk 2012 von Light In The Attic zur Compilation ,After Laughter Comes Tears" zusammengetragen wurde. Und tatsächlich ist JOHNNIE FRIERSON ihr Bruder, ein weiteres Mitglied des Mittsechziger-Stax-Quartetts THE DRAPELS. Doch ,Have You Been Good To Yourself" wird für jeden, der den eher treibenden R&B von JOHNNIE und seinen Geschwistern erwartet, eine Überraschung sein. Die ultrararen Home Recordings sind eine Mischung aus Spoken Word, Folk und Gospel, die direkt auf Kassette aufgenommen wurden und von FRIERSONs religiöser Kindheit und seiner Karriere im Musikbusiness beeinflusst sind, die 1970 jäh unterbrochen wurde, als er als Soldat nach Vietnam gesendet wurde. Der Schatzsucher Jameson Sweiger fand ,Have You Been Good To Yourself" auf einer Zusammenstellung mit dem Titel ,Real Education" und unter dem Namen KHAFELE OJORE AJANAKU in einem Secondhandladen in Memphis, doch offensichtlich stammte die Aufnahme von FRIERSON. Die Tapes waren nicht weit gekommen: ursprünglich wurden sie in Eckläden und auf Musikfesten in der Umgebung von Memphis verkauft, wo FRIERSON weiterhin auftrat und eine Gospel-Radiosendung moderierte, während er hauptberuflich als Mechaniker, Hilfsarbeiter und Lehrer arbeitete. Die sieben Songs auf ,Have You Been Good To Yourself" sind offenkundig religiös; einige, so wie ,Out Here On Our World", sind durchdringend und eindringlich; andere, wie das selbstkritische ,Have You Been Good To Yourself" sind eher meditativ. Sie spiegeln die schwierige Situation wider, in der sich FRIERSON zur Zeit der Aufnahmen befand, verstört durch seine Zeit beim Militär und in tiefster Trauer um den frühzeitigen Tod seines Sohnes. ,Er war wirklich auf der Suche nach einer Antwort für sich", erinnert sich FRIERSONs Tochter Keesha in Andria Lisles Liner Notes. ,Und komponieren und Musik spielen waren seine Lösung". Remastert und zum ersten Mal professionell veröffentlicht, bleibt die Botschaft FRIERSONs, der 2010 verstarb, ungetrübt.

Nachpressung! Der Name FRIERSON mag dem ein oder anderen bekannt vorkommen. Es war der Nachname von WENDY RENE, deren Werk 2012 von Light In The Attic zur Compilation ,After Laughter Comes Tears" zusammengetragen wurde. Und tatsächlich ist JOHNNIE FRIERSON ihr Bruder, ein weiteres Mitglied des Mittsechziger-Stax-Quartetts THE DRAPELS. Doch ,Have You Been Good To Yourself" wird für jeden, der den eher treibenden R&B von JOHNNIE und seinen Geschwistern erwartet, eine Überraschung sein. Die ultrararen Home Recordings sind eine Mischung aus Spoken Word, Folk und Gospel, die direkt auf Kassette aufgenommen wurden und von FRIERSONs religiöser Kindheit und seiner Karriere im Musikbusiness beeinflusst sind, die 1970 jäh unterbrochen wurde, als er als Soldat nach Vietnam gesendet wurde. Der Schatzsucher Jameson Sweiger fand ,Have You Been Good To Yourself" auf einer Zusammenstellung mit dem Titel ,Real Education" und unter dem Namen KHAFELE OJORE AJANAKU in einem Secondhandladen in Memphis, doch offensichtlich stammte die Aufnahme von FRIERSON. Die Tapes waren nicht weit gekommen: ursprünglich wurden sie in Eckläden und auf Musikfesten in der Umgebung von Memphis verkauft, wo FRIERSON weiterhin auftrat und eine Gospel-Radiosendung moderierte, während er hauptberuflich als Mechaniker, Hilfsarbeiter und Lehrer arbeitete. Die sieben Songs auf ,Have You Been Good To Yourself" sind offenkundig religiös; einige, so wie ,Out Here On Our World", sind durchdringend und eindringlich; andere, wie das selbstkritische ,Have You Been Good To Yourself" sind eher meditativ. Sie spiegeln die schwierige Situation wider, in der sich FRIERSON zur Zeit der Aufnahmen befand, verstört durch seine Zeit beim Militär und in tiefster Trauer um den frühzeitigen Tod seines Sohnes. ,Er war wirklich auf der Suche nach einer Antwort für sich", erinnert sich FRIERSONs Tochter Keesha in Andria Lisles Liner Notes. ,Und komponieren und Musik spielen waren seine Lösung". Remastert und zum ersten Mal professionell veröffentlicht, bleibt die Botschaft FRIERSONs, der 2010 verstarb, ungetrübt.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Strut continue their in-depth archive reissues from the Black Fire label witha definitive edition of JuJu's 'Live At 131 Prince Street',recorded in 1973 atOrnette Coleman's gallery in New York and featuring a previously unheardrecording of the Pharoah Sanders composition "Thembi". After forming in San Francisco while working on the Marvin X theatre piece'The Resurrection of the Dead', JuJu began to hone their uncompromisingfusion of Afro-Latin rhythms with free and spiritual jazz before signing toStrata-East for the 'A Message From Mozambique' album in 1972. "Wemoved to New York and became part of the avant-garde community on theLower East Side and Greenwich Village," remembers bandleader PlunkyBranch. Following a high profile live show at the Lincoln Center, OrnetteColeman invited JuJu to his gallery and loft at 131 Prince Street to performthere and to stay on while he left on tour. "That was life-changing for us,"continues Plunky."It was fabulous. The recordings you hear on this albumare in close proximity to each other, maybe across one day or a weekendat the gallery."Alongside tracks written by the JuJu band members, like the5/4 tempo 'At Least We Have A Horizon Now', they play choice coversfrom their peers. Plunky explains, "'Thembi' is a Pharoah Sanders piecewhich he wrote for his wife in 1971 and it's one of my favourite pieces byhim. 'Azucar Pa Ti' was written by Eddie Palmieri; we loved him too andenjoyed Latin music in general. Here we play 'Mozambique', based on anAfro-Cuban rhythm and we regularly played that for 10 minutes beforemorphing into 'Azucar'. 'Out Of This World', written by Johnny Mercer andHarold Arlen, was inspired by John Coltrane who recorded a version of iton his 'Coltrane' album in '62." JuJu's 'Live At 131 Prince Street' is out on Strut on 12th February 2021 on2LP and 1CD. Remastered by The Carvery from the original reel to reeltapes and including full sleeve notes based around a new interview withbandleader James "Plunky" Branch.

Originally founded in Spain and now based out of Berlin, Golden Soul Records, the brainchild of James Rod, Aleito and Azaria has been releasing synth-heavy, mind melters and brain busters that traverse the galaxies of Italo, nu disco, synth pop and new beat since 2015. The best remixes from the label have now been perfectly packaged onto this new 2021 EP.

Kicking things off, a slice of futuristic machine funk from James Rod who puts a cosmic twist on Javier Busto - Robot in Mars, before Aleito works up a arpeggiated whirlwind with From Beyond - Body Resonance.

On the B side Azaria lets loose a new beat monster remix of Tiempo de Maldad - Disco Gold with Jarle B providing an Italo stomper of a rework for Aleito’s - Always Here to close out proceedings.

Jesse James rides again! Rejoining the Soul Junction label to bring you his previously unreleased original version of the song “(The Girl In) Clinton Park”

The song is more widely known through the version recorded by the group Masterplan in 1974 as part of their trilogy of 45 releases on the West Coast Fos-Glo label, with this particular release being later picked up and released on The East Coast Delite label.

The story behind Jess’s solo version began 3 years earlier when following his first spell with the 20th Century label Jesse found himself without a label feeling a little disillusioned with major labels but undeterred in his own ability he decided to finance and record his own masters. Hence on 29th of April 1971, Jesse entered the Searra Sound Studio in Berkley C.A under the direction of producer and friend Willie Hoskins (Wilhos Productions, and the man who gave the world the Natural Four on Boola, Boola and ABC, prior to them joining Curtis Mayfield at Curtom). Jesse recorded a five song session, with one particular song being the Stanley Lippett composition “(The Girl In) Clinton Park”. Lippett who prior to becoming part of the Wilhos Productions team sang with the early 60’s group The Five Brooks before recording two very sought after Northern Soul 45’s “The Stran” and “Outta Sight Loving” for Dick Vance’s Out Of Site Label. Stanley later joined Marvin Holmes & The Uptights Band. It had been Marvin Holmes (he of Brown Door Records fame) who introduced Stanley to Willie Hoskins with Stanley subsequently joining Boola Boola Records and Wilhos Productions. Stanley repaid Marvin for this introduction by composing a song based on Marvin’s 3 year daughter, she being the actual girl from Clinton Park!

Returning to Jesse James, two other songs from this session, a cover version of Etta James “At Last” and “I Know I’ll Never Find Another” did gain a release at the time on the Zay label.

We’ve known about Jesse’s version of this song for many years now but the tape was nowhere to be found and even without hearing it, just knowing the song and that Jesse was a great singer I always promised him that one day I’d put it out. But if there is some good to come out of this pandemic then it was during Jesse’s lock down in Richmond and while browsing through his possessions he luckily found the missing tape, bingo we’re in business!

For this release we have coupled “(The Girl In) Clinton Park” with Jesse’s oh so soulful cover version of the Terry Callier/Larry Wade composition “ Just As Long As We’re In Love” (also recorded by Callier himself and The Mighty Dells), previously issued by Soul Junction on Jesse’s 2012 album “Let Me Show You” (SJLP 5005), enjoy.

Barbarossa, AKA British singer songwriter and producer
James Mathé, releases his new album ‘Love Here Listen’
via Memphis Industries.
For this latest batch of songs James Mathé collaborated
with producer du jour Ghost Culture (Daniel Avery, Kelly
Lee Owens, Falle Nioke) at his studio in Margate, Kent in
the South East of England. The pair worked with a
limited range of vintage synths - a Mono Poly, Korg MS-
20 a Roland SH-101 and a Juno 108 borrowed from the
local skate store Palm Bay Skates - with the recordings
bounced down to Mathé’s Fostex R8 reel to reel to give
it that undeniable warmth.
Mathé says of the recording process: “It was probably
the most stress-free record to date and so much fun just
messing around with synth arps. It’s easy with James as
we really understand each other and I trust him totally.
He lives five minutes’ walk along the seafront from me.
We even jumped in the sea a couple times after lunch.”
‘Love Here Listen’ is Mathé’s sixth album since his debut,
‘Sea Like Blood’, released on the Fence Collective back in
2006, since which time he’s joined the Jose Gonzales
live show, become a member of Junip, toured with
Poliça and This Is The Kit and morphed from acoustic
troubadoury to electronic song smithery all the while
seemingly searching for an elusive balance between
hopefulness and melancholy. On ‘Love Here Listen’,
thanks to a reconnecting with the visceral forces of nature, it feels like he’s found it.
Yellow vinyl LP.

James Johnston (Gallon Drunk / Nick Cave / PJ Harvey) and Steve Gullick (renowned music photographer) are pleased to announce their new album out on the 26th Feb 2021. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they’d unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became WE TRAVEL TIME.The result is a deceptively crafted album that slowly reveals – and, more importantly, embraces – beauty in its cracks. Piano, voice, violin and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds – birds, rain, cars, clocks, distant voices – also drift in and out, melting into the music’s fabric via windows left open during the early 2020 heatwave. WE TRAVEL TIME, nonetheless, resists definition, remaining enigmatically timeless.

A gifted animator, writer, performer and producer, he has already seen support from The Sunday Times’ Breaking Act, Dork Magazine, BBC Radio 1’s Huw Stephens and Jack Saunders, BBC Introducing and Radio X.

Inspired by contemporaries like James Blake, Tom Misch and Rex Orange County, George’s music is as innovative as it is feel good, and as unique as his backstory. As one of eight homeschooled siblings raised by parents whose professions included being a collage artist and a honey farmer respectively, he grew up in a fruitful environment that encouraged his artistic side.

In his own words, his music is organic, wholegrain and good for your gut. It’s all these elements that come together to form the quirky world of George Moir, providing a pathway for him to become one of Britain’s most intriguing and hardworking artists

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.

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

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

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

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

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

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

• Features the debut of Nas

Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

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