Cerca:michael peter

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Der in Brooklyn ansässige Komponist, Arrangeur, Produzent und Multiinstrumentalist Sly5thAve präsentiert "Liberation", eine 2LP mit Auswahl von Originalkompositionen und Reorchestrierungen, die die Schönheit und Gewandtheit der Jazzmusik feiern. Feat. MonoNeon, Roberto Verástegui, Robert “Sput” Searight, Nate Werth.

Liberation" ist das neue Album des Produzenten, Komponisten, Arrangeurs und Multiinstrumentalisten Sly5thAve. Sly5thAve überwand kreative Schwierigkeiten und konzentrierte sich darauf, sich selbst treu zu bleiben, und fühlte sich nach der Fertigstellung des Titeltracks "Liberation" befreit - ein Gefühl, das den Titel des Albums prägte.
Liberation" entstand aus einem Demo, das vor fünf Jahren während Sly5thAves erstem Versuch, das Album zu konzipieren, entstanden war, und ist inspiriert von geliebten Blaxploitation-Filmsoundtracks und ikonischen Künstlern wie Curtis Mayfield, Willie Hutch, Herbie Hancock, Gordon Parks & J. J Johnson.

Der Grammy-Preisträger Sylvester Uzoma Onyejiaka II alias Sly5thAve ist bekannt für seine ausgefeilten Kompositionen. Sein Sound ist geprägt von seinem Glauben an Hip-Hop und seinem tiefen Verständnis von Soul, R&B und Jazz. Er hat eine große Anhängerschaft im Underground und wurde von berühmten Musikern wie Jarobi White (A Tribe Called Quest), Dr. Dre, Questlove und The Roots sowie dem Schauspieler Martin Freeman unterstützt.
Großen Respekt hat er sich durch seine Arbeit mit einer Reihe von hochkarätigen Musikern erworben, darunter Prince (als Mitglied der New Power Generation Band), Stevie Wonder, Gladys Knight, das Dave Brubeck Quartet, Taylor Swift, Janelle Monae, Freddie Gibbs und Quantic. Sly5thAve ist als Mitglied von Ghost Note, Quantic und mit seinem eigenen Nebenprojekt IGBO auf Tournee gegangen und hat Alfa Mist auf seiner Nordamerikatournee unterstützt.

Vor allem seine orchestrale Hommage an Dr. Dre, "The Invisible Man", erntete viel Lob und Aufmerksamkeit und wurde sogar von Dr. Dre selbst bewundert.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

Head Body Connector is the third offering from Noah Prebish, Peter Spears, and Brother Michael Rudinski’s Psymon Spine project. It is a record that relishes in the heady, the psychedelic, the abstraction of temporality as we know it. Head Body Connector is a studio record from a band obsessed with production. It’s also a record that more so than any other Psymon release is interested in explicitly sounding live. It’s a guitar-forward album. Something that is ready-made to be performed. It. features Liquid Liquid’s Dennis Young’s percussion and Angel Deradoorian (Dirty Projectors, Flylo, The Roots) on backing vocals as well as long time collaborator Sabine Holler. Head Body Connector also saw the induction of two longtime friends of the band, drummer Zeb Stern and singer/guitarist Sarah Aument, both on tour and in the studio.

Mit dem wachsenden Wunsch nach früheren Werken von ELOY, dem gemäß Musikpresse "deutschen Flaggschiff des Art-und Progressivrock" kommt nun am 23.02.2024 mit "Destination" ein Album aus dem Jahr 1992 erneut auf den Markt, welches schon seit langem nicht mehr verfügbar ist. Da zu jener Zeit der frühen Neunziger die Vinyl-Platte quasi komplett "out" war, erscheint "Destination" nun als physisches Produkt erstmals auch auf Vinyl. "Destination" ist ein Album, auf welchem wir viele unterschiedliche Inspirationen und stilistischen Elemente verarbeiteten und vermischten. Obwohl Bassist Klaus Peter Matziol während der laufenden Produktion erstmals wieder für die Band zum Bass griff, entstand das Material überwiegend in der Zusammenarbeit von Michael Gerlach und mir, und es kam eine Melange aus atmosphärischen, aber auch sehr rockigen Klängen dabei heraus, wobei ich mich noch im Satzgesang mit mir selbst herausforderte, und wir durch diverse Fremdinstrumente das noch immer nicht komplett neu besetzte Line Up auffüllten. Es herrschte nach dem Erfolg des Vorgängers RA, welches ELOY nach dreijähriger Pause sofort in die offiziellen deutschen Albencharts zurück katapultierte, rege Aufbruchsstimmung. Der Sound und die Melange der Musik gelangen so, wie geplant." (Frank Bornemann, 2023)

Two sublime unreleased scores from Basil Kirchin. Need we say more.
So here we are. The next Trunk / Kirchin assignment. Basically some more unreleased music from the unpredictable and slightly chaotic Kirchin Tape Archive.
Very Limited Black Vinyl.

These tapes were labelled up as follows:
Assignment K (with lots of pencil scribbles everywhere). The Strange Affair (with lots of pen scribbles everywhere).
As usual with Basil tapes / things there is little else to go on, no tracklist, no list of musicians, no singer names, no dates or anything. I have actually tried to establish the name of the singer on the song from Side One (we have called it “Love Is To Walk Away “ as it is unnamed) but having played it to a handful of knowledgeable collectors and enthusiasts who I would count as experts in this field, no one has a clue who it might be. If you think you know please get in touch. We know who it isn’t.

We can tell you that Assignment K dates from 1968, was a film about a toy maker who has a double life as an international spy. It was directed by Val Guest, who’d just finished trying to rescue the cinematic hotchpotch that was Casino Royale - he had been brought in by the Bond producers after Peter Sellers had walked off the movie. We imagine Assignment K may have been a slightly less stressful few months of shooting. As for the Kirchin score that we have here, we can tell you very little indeed, apart from the fact that the bass player was Ron Prentice (an ex blacksmith turned musician and craftsman) who worked on several Bond scores, but we know little else. And we only know this because it says so in the academic tome “Jazz On The Screen” by David Meeker.

The Strange Affair is also from 1968, and was not only controversial but also a reasonably unsuccessful movie. Directed by David Greene who also directed, amongst other films, I Start Counting and the quite brilliant Sebastian. In this rather grubby flick a policeman called Peter Strange (played by Michael York) falls for an underage girl (played by Susan George), finds himself compromised by a pair of pornographers and gets lured into an errand for a smack gang. We can tell you little else because I have no more information about it all.
But we do know that this music has all the classic Kirchin mid-period sonic hallmarks that have always set him apart.

Justus Jonas ist einmalig - oder etwa nicht? Unerwarteter Besuch und ein Diebstahl führen die drei ??? auf die Yacht des Verrats. Justus, Peter und Bob trauen ihren Augen kaum, als ihnen Ian Carew wieder gegenübersteht. Ein alter Fall verbindet die Detektive mit dem Sohn des ehemaligen Premierministers von Nanda. Kein Wunder, dass Ian erneut ihre Hilfe sucht. Er ist im Auftrag seines Landes in Rocky Beach, doch jemand verfolgt ihn und in sein Hotelzimmer wurde eingebrochen. Können die drei ??? ihrem Freund helfen?Trackpunkte1. Tokoloshe 09:032. Die Vodoo-Frau 08:353. Ein gefährlicher Plan 07:544. Mission Peter 06:275. An Bord 10:456. Leinen los! 07:257. Mann über Bord! 10:228. Enttarnt 12:13Gesamtspielzeit: 01:12Sprecher:innen Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichIan Carew Sascha DraegerMambo Mawu Regina LemnitzKommissarin Martinez Caroline KiesewetterLarry Stephan SchadMorton Michael PrelleThabani Mathoho Tim GrobeClayton Badu Frank Roder Cumba Balewa Heidi BerndtProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Justus Jonas ist einmalig - oder etwa nicht? Unerwarteter Besuch und ein Diebstahl führen die drei ??? auf die Yacht des Verrats. Justus, Peter und Bob trauen ihren Augen kaum, als ihnen Ian Carew wieder gegenübersteht. Ein alter Fall verbindet die Detektive mit dem Sohn des ehemaligen Premierministers von Nanda. Kein Wunder, dass Ian erneut ihre Hilfe sucht. Er ist im Auftrag seines Landes in Rocky Beach, doch jemand verfolgt ihn und in sein Hotelzimmer wurde eingebrochen. Können die drei ??? ihrem Freund helfen?Trackpunkte1. Tokoloshe 09:032. Die Vodoo-Frau 08:353. Ein gefährlicher Plan 07:544. Mission Peter 06:275. An Bord 10:456. Leinen los! 07:257. Mann über Bord! 10:228. Enttarnt 12:13Gesamtspielzeit: 01:12Sprecher:innen Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichIan Carew Sascha DraegerMambo Mawu Regina LemnitzKommissarin Martinez Caroline KiesewetterLarry Stephan SchadMorton Michael PrelleThabani Mathoho Tim GrobeClayton Badu Frank Roder Cumba Balewa Heidi BerndtProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

7A Records are proud to announce the release of Micky Dolenz Sings R.E.M., a 4 track EP released
on November 3rd. The EP is comprised of songs R.E.M. wrote throughout their career, all beautifully
reimagined by Dolenz and producer Christian Nesmith. The EP features fresh and completely new
arrangements of some of R.E.M.’s most memorable and catchy songs. As Dolenz says: “Once again,
this EP reaffirms my long-held conviction that a solid recording always begins with solid material. You
don’t get much solid than R.E.M. What a joy to, once again, bring these songs to life”.
R.E.M. Reactions to the EP:
“These songs are ABSOLUTELY INCREDIBLE. Micky Dolenz covering R.E.M. Monkees style, I have
died and gone to heaven. This is really something. Shiny Happy People sounds INCREDIBLE (never
thought you or I would hear me say that!!!). Give it a spin. It’s wild. And produced by Christian Nesmith
(son of Michael Nesmith), I am finally complete”. Michael Stipe
"That voice---one of the main voices of my musical awakening---singing our songs... It is beyond
awesome. Let's help make this as huge as we possibly can. I am beyond thrilled." Mike Mills
"I've been listening to Micky's singing since I was nine years old. It's unreal to hear that very voice,
adding new depth to songs we've written ourselves, and inhabiting them so completely." Peter Buck
"I am blown away! Micky and Christian just take these tracks to unexpected places”. Scott
McCaughey

Das "Rock-Album" der Mountain Goats enthält 13 formidable Songs, die an so interessanten und unterschiedlichen Plätzen wie Fairbanks, Stockholm, Seattle, San Francisco oder Durham geschrieben wurden. Diese Vielfalt der Ortschaften spiegelt sich auch in der fesselnden Andersartigkeit der Songs wieder. John Darnielle fasziniert erneut mit intensiven Texten, die z.B. von Krimi-Autoren, dem letzten Sex mit der Freundin, einem See-Monster, Splatter-Filmen und vielen anderen Kuriositäten handeln. "Heretic Pride" entstand in Zusammenarbeit mit vielen guten alten Freunden von John, zu denen sich diesmal aber auch einige neue gesellten. Schon beinahe als feste Bandmitglieder fungieren Peter Hughes am Bass, John Wurster an den Drums, Franklin Bruno am Klavier und Erik Friedlander am Cello. Zudem steuerte St. Vincents Annie Clark einige bezaubernde Gitarrenchords und Backing Vocals bei.

Despite the name, the band does not perform exclusively in trio formation, but expands the lineup with illustrious guests of the jazz genre. In the past AMC Trio has collaborated with Philip Catherine, Bill Evans, Ulf Wakenius, Mark Whitfield, Michael Patches Stewart and many others, including the guest on 'Following the Light' Randy Brecker.

The AMC Trio band has been around for about twenty years and consists of pianist Peter Adamkovic, bassist Martin Marincak and drummer Stanislav Cvanciger. It has its musical foundations in mainstream jazz but over the years has managed to develop its very own musical sound and style. The band incorporates many self-experienced stories and emotions in their compositions.

Although their music is influenced by Slovak music, it goes beyond the usual jazz progressions and touches on a number of diverse genres. For example, the wide range of melodies is inspired by popular and classical music, melodies from Eastern Slovak folk music, nature, literature and spirituality.

Land Of Hits by name, Land Of Hits by nature, this downright delectable 12 inch from Fly Guy, with the aptly named Fly Guy Rap, on Peter Brown and Michael Campbell’s NYC label commands prices of over £750 on the second hand market.

A super rare cut that was been crying out for a reissue for many a moon and those prayers have now been answered. Killer breaks, funk stylings, and one of the most infectious raps you’re ever likely to hear. Essential business produced by P&P bossman Peter Brown that deserves a spot in every collection.

Founded in 1971, Matumbi was among the earliest and best British reggae bands. They did, however, also record under different guises, including 4th Street Orchestra. In their acclaimed Rough Guide to Reggae, Steve Barrow and Peter Dalton rate this album (and its counterpart Ah Who She? Go Deh!) as 'the best showcases for Matumbi's talents'. This release marks the first LP reissue of this genuine UK roots monument since 1976.

Original member Dennis “Blackbeard” Bovell (of LKJ and Dub Band fame) knew the local sound system scene like the back of his hand, and most tracks on Leggo! Ah-Fi-We-Dis were initially cut as exclusive 'specials' for his own Jah Sufferer sound system and for fellow soundmen. Hardly anyone hearing these tunes at reggae parties would have guessed they didn't originate in Kingston but were recorded in London. And neither did many who bought the records when they were released a few years later. That's hardly surprising, as the material Bovell & Co churned out could easily compete with the toughest output of their Jamaican counterparts. The solid interpretation of Junior Delgado's "Tichion" and a scorching, melodica-led version of Ras Michael's "None-Ah-Jah-Children" are the most familiar tunes here. And a militant update of Max Steiner's "Theme From A Summer Place" displays good fun as well as guts. But the band's outstanding originals will give many '70s Jamaican classics a good run for their money.

Die Apart Demos wurden zwischen 1980 und 1984 in verschiedenen Kellern und professionellen Studios in Chicago aufgenommen und dokumentieren 12 intime und reduzierte Skizzen, Demos und unveröffentlichte Tracks von Andre Gibson und der Universal Togetherness Band, als sie sich auf ihre Solokarrieren zubewegten. Von tief empfundenen Huldigungen an die Liebenden, die von einem seidigen Fender Rhodes verziert werden, bis hin zu Disco-Party-Startern über spirituelle Dankbarkeit - Andre Gibson lässt uns in sein Herz blicken und bringt am Ende alles zusammen. Die Universal Togetherness Band aus Chicago, verband in ihrem eklektischen Sound Funk-, Soul-, Disco-, Jazz-, Rock- und New-Wave-Einflüsse mit intelligenten und fantasievollen Texten. 1978 gegründet und geleitet von Andre Gibson, mit seinem Bruder Arnold Gibson (Schlagzeug, Bass), dem ehemaligen Colorvision-Mitglied Fred Misher (Bass, Hintergrundgesang) und Freds Bruder Leslie Misher (Leadgitarre), während Andre die Keyboards, das Vibraphon und den Leadgesang übernahm. Obwohl die Gruppe mehrere Jahre lang in den Clubs von Chicago auftrat und gelegentlich größere Auftritte absolvierte (vor allem als Vorgruppe von Peter Gabriel), hatte sie Mühe, ein größeres Publikum für ihre anspruchsvolle R&B-Melange zu finden. Zwischen 1979 und 1982 nahm die Band Dutzende von Sessions auf, die Gibsons weitreichende Vision als Komponist und Bandleader dokumentierten. Während Gibsons Zeit am Columbia College kamen Paul Hanover (Mundharmonika und Klavier) und Louis Sanford (Schlagzeug) zu den ursprünglichen vier Multiinstrumentalisten hinzu. Nachdem sich die ursprüngliche Besetzung der Universal Togetherness Band schließlich Mitte der 1980er auflöste, nahm Andre Gibson weiterhin mit einer Besetzung mit Frank Alexander (Schlagzeug), Allen Burroughs (Gitarre), Art Love (Bass) und Michael Young (Saxophon) auf. 2015 veröffentlichte Numero Group eine erste Zusammenstellung mit unveröffentlichten Aufnahmen mit dem schlichten Titel Universal Togetherness Band.

Die Apart Demos wurden zwischen 1980 und 1984 in verschiedenen Kellern und professionellen Studios in Chicago aufgenommen und dokumentieren 12 intime und reduzierte Skizzen, Demos und unveröffentlichte Tracks von Andre Gibson und der Universal Togetherness Band, als sie sich auf ihre Solokarrieren zubewegten. Von tief empfundenen Huldigungen an die Liebenden, die von einem seidigen Fender Rhodes verziert werden, bis hin zu Disco-Party-Startern über spirituelle Dankbarkeit - Andre Gibson lässt uns in sein Herz blicken und bringt am Ende alles zusammen. Die Universal Togetherness Band aus Chicago, verband in ihrem eklektischen Sound Funk-, Soul-, Disco-, Jazz-, Rock- und New-Wave-Einflüsse mit intelligenten und fantasievollen Texten. 1978 gegründet und geleitet von Andre Gibson, mit seinem Bruder Arnold Gibson (Schlagzeug, Bass), dem ehemaligen Colorvision-Mitglied Fred Misher (Bass, Hintergrundgesang) und Freds Bruder Leslie Misher (Leadgitarre), während Andre die Keyboards, das Vibraphon und den Leadgesang übernahm. Obwohl die Gruppe mehrere Jahre lang in den Clubs von Chicago auftrat und gelegentlich größere Auftritte absolvierte (vor allem als Vorgruppe von Peter Gabriel), hatte sie Mühe, ein größeres Publikum für ihre anspruchsvolle R&B-Melange zu finden. Zwischen 1979 und 1982 nahm die Band Dutzende von Sessions auf, die Gibsons weitreichende Vision als Komponist und Bandleader dokumentierten. Während Gibsons Zeit am Columbia College kamen Paul Hanover (Mundharmonika und Klavier) und Louis Sanford (Schlagzeug) zu den ursprünglichen vier Multiinstrumentalisten hinzu. Nachdem sich die ursprüngliche Besetzung der Universal Togetherness Band schließlich Mitte der 1980er auflöste, nahm Andre Gibson weiterhin mit einer Besetzung mit Frank Alexander (Schlagzeug), Allen Burroughs (Gitarre), Art Love (Bass) und Michael Young (Saxophon) auf. 2015 veröffentlichte Numero Group eine erste Zusammenstellung mit unveröffentlichten Aufnahmen mit dem schlichten Titel Universal Togetherness Band.

Valentine Lover Red Vinyl. Die Apart Demos wurden zwischen 1980 und 1984 in verschiedenen Kellern und professionellen Studios in Chicago aufgenommen und dokumentieren 12 intime und reduzierte Skizzen, Demos und unveröffentlichte Tracks von Andre Gibson und der Universal Togetherness Band, als sie sich auf ihre Solokarrieren zubewegten. Von tief empfundenen Huldigungen an die Liebenden, die von einem seidigen Fender Rhodes verziert werden, bis hin zu Disco-Party-Startern über spirituelle Dankbarkeit - Andre Gibson lässt uns in sein Herz blicken und bringt am Ende alles zusammen. Die Universal Togetherness Band aus Chicago, verband in ihrem eklektischen Sound Funk-, Soul-, Disco-, Jazz-, Rock- und New-Wave-Einflüsse mit intelligenten und fantasievollen Texten. 1978 gegründet und geleitet von Andre Gibson, mit seinem Bruder Arnold Gibson (Schlagzeug, Bass), dem ehemaligen Colorvision-Mitglied Fred Misher (Bass, Hintergrundgesang) und Freds Bruder Leslie Misher (Leadgitarre), während Andre die Keyboards, das Vibraphon und den Leadgesang übernahm. Obwohl die Gruppe mehrere Jahre lang in den Clubs von Chicago auftrat und gelegentlich größere Auftritte absolvierte (vor allem als Vorgruppe von Peter Gabriel), hatte sie Mühe, ein größeres Publikum für ihre anspruchsvolle R&B-Melange zu finden. Zwischen 1979 und 1982 nahm die Band Dutzende von Sessions auf, die Gibsons weitreichende Vision als Komponist und Bandleader dokumentierten. Während Gibsons Zeit am Columbia College kamen Paul Hanover (Mundharmonika und Klavier) und Louis Sanford (Schlagzeug) zu den ursprünglichen vier Multiinstrumentalisten hinzu. Nachdem sich die ursprüngliche Besetzung der Universal Togetherness Band schließlich Mitte der 1980er auflöste, nahm Andre Gibson weiterhin mit einer Besetzung mit Frank Alexander (Schlagzeug), Allen Burroughs (Gitarre), Art Love (Bass) und Michael Young (Saxophon) auf. 2015 veröffentlichte Numero Group eine erste Zusammenstellung mit unveröffentlichten Aufnahmen mit dem schlichten Titel Universal Togetherness Band.