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Multi-instrumentalist Sally Anne Morgan, known for her work as part of The Black Twig Pickers, and half of House and Land (with Sarah Louise), cultivates seeds sown by folk musics and psychedelia. Carrying tills the rich soil of Appalachian traditions and her rural North Carolina surroundings into warm, reflective songs about the weight people carry with them, as well as Morgan"s own pregnancy and the birth of her first child. Bridging the more freeform, expansive leanings of 2021"s Cups and the lucid beauty of her acclaimed 2020 debut Thread, Carrying finds Morgan imbuing her masterfully crafted songs with more subtle and intricate arrangements. The album"s exploratory nature is anchored by a full band comprised of some of the most thoughtful players in the psychedelic folk and "cosmic country" spheres, including a guest appearance by Ripley Johnson (Rose City Band, Wooden Shjips, Moon Duo), and the foundational rhythm section of fellow The Black Twig Pickers collaborators: drummer Nathan Bowles (Steve Gunn Band, Pelt), guitarist Andrew Zinn, and bassist/engineer Joe Dejarnette. Morgan finds unity in the burdens and joys, tensions, and releases of modern living as a common thread that people bear in their day-to-day lives. "So much of what we accumulate and carry around with us burdens us, but we also can"t or don"t know how to let go," says Morgan. The profoundness and mundanity of that weight ran parallel for Morgan as she literally carried her child to term: the utter commonality of enduring what billions of parents before her had, and the awesome power of the human body and spirit, the complicated and unpredictable wash of emotions that come with nurturing and nourishing another life.

Die südkalifornischen Bluesrocker Robert Jon & The Wreck melden sich mit einem brandneuen Studioalbum zurück. Sie engagierten dazu die Produzentenlegenden Don Was, Dave Cobb und Kevin Shirley, zudem wurden zwei Tracks von Joe Bonamassa und Josh Smith produziert. Auf 'Ride Into The Light' kommt ihr knallharter, purer Rock'n'Roll in Hülle und Fülle zum Einsatz.

For fans of Sass Jordan, Alanis Morrisette, Foo Fighters and Classic Rock! Sass Jordan's breakthrough album, Racine, was released in 1992 and yielded the Canadian hit singles "Make You a Believer," "I Want to Believe"--both ranked on Billboard magazine's Mainstream Rock chart. In 1994, Jordan released Rats, which yielded her first song on the Billboard Hot 100 with the single "Sun's Gonna Rise," and also featured “High Road Easy.” In 1992, Jordan recorded the duet "Trust in Me" with Joe Cocker for the motion picture The Bodyguard. Jordan is now releasing Live in New York Ninety-Four. The show was recorded at the South Street Seaport in NYC during the 1994 Rats tour. The band at that time, along with Jordan, consisted of Tony Reyes (bass, vocals), Taylor Hawkins (drums, vocals), Nick Lashley (guitar), and Stevie Salas (guitar). The album features killer versions of classics like “Make You a Believer”, “High Road Easy” and “You Don’t Have To Remind Me” and included never before seen photos from the 1994 Rats tour taken from Jordan’s personal collection. Jordan shares, this is a celebration of the early days in the career of Hawkins, future Foo Fighters drummer. Jordan says, "As we hit the milestone that marks one year since Taylor left us, I wanted to do something to honour his memory--a recognition and appreciation for his glorious, big, beautiful energy--which lives on through this recording and in all of our hearts.”

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

Der gefeierte Saxophonist Joshua Redman jetzt neu bei Blue Note Records!

Sein Debüt beim Label trägt die Frage „where are we“ im Titel und ist ein sanftes, stimmungsvolles Werk, das sich von Kitsch jedoch weit fernhält. Die Songtitel geben preis, dass es hier um Amerika geht, und um das, was das heutige Amerika für Redman und die anderen an diesem Album Beteiligten bedeutet.

Ein großer Teil des Albums besteht aus bekannten Jazz- und Pop Standards, die in der Neuinterpretation Joshua Redmans immer wieder ein Gefühl des Neuentdeckens bieten.

„where are we“ ist Joshua Redmans erstes Projekt mit durchgehender Beteiligung einer Sängerin, der großartigen Neuentdeckung Gabrielle Cavassa, die mit ihrer geschmeidigen, lässig-intimen Stimme Akzente setzt, genauso wie Redmans Band aus Pianist Aaron Parks, Bassist Joe Sanders und Schlagzeuger Brian Blade, sowie die Special Guests Nicholas Payton an der Trompete, Kurt Rosenwinkel und Peter Bernstein an der Gitarre sowie Joel Ross am Vibraphon.

[a] A1 . After Minneapolis (Face Toward Mo[u]rning) (Face Toward Mo

Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Im Jahr 1986 erschien in der Bostoner Times eine Anzeige, in der Charles Thompson (alias Black Francis) und Joey Santiago einen Bassisten und einen Schlagzeuger suchten, die sowohl Hüsker Dü als auch Peter, Paul & Mary mögen sollten. Kim Deal (auf den ersten beiden Platten noch als Mrs. John Murphey) und David Lovering meldeten sich auf die Anzeige, und die Pixies waren komplett. Mit ihrem ungestümen Rock, den brachialen Tempowechseln und den sägenden Gitarrenriffs wurden sie zu der Indierockband überhaupt. Kurt Cobain gab zu, dass er einen Song wie "Smells Like Teen Spirit" ohne die Inspiration durch die Pixies nicht hätte schreiben können: "I was trying to write the ultimate pop songs, I was trying to rip off the Pixies". Ob es ihm gelungen ist, sei dahingestellt. Fest steht, dass die Pixies mit "Debaser", "Here Comes Your Man", "Monkey Gone To Heaven" und "Where Is My Mind?" Indieklassiker produziert haben. (aus laut.de)

Founding member of Buffalo Springfield and folk-rock supergroup Crosby, Stills, Nash & Young, Stills' first solo album, Stephen Stills, earned a gold record, is the only album to feature both Jimi Hendrix and Eric Clapton, and climbed to #3 on the album charts. Stephen Stills’ single "Love the One You're With" became his biggest solo hit, peaking at number 14 on the Billboard Hot 100 and is the first track on this collection. 14 tracks from Stephen Still’s First US Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971, featuring David Crosby on two songs. In 1971 Stephen Stills embarked on a US tour, opening each show with an intimate acoustic first set, and closing each night with a riveting electric set featuring the Memphis Horns. These historic, previously unreleased recordings took place over two nights at the Berkeley Community Theater, with David Crosby joining him on vocals and guitar for "You Don’t Have To Cry" and "The Lee Shore." These recordings find Stills at peak performance in both vocal delivery and musicianship, effortlessly incorporating alternate instrumentation on his instantly recognizable tracks, including a seamless medley of “49 Bye Byes" and "For What It’s Worth” unexpectedly played on piano. Hand-picked by Stills from his personal archives, this album captures timeless and era defining performances. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker. Backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala, these Northern California shows were one of the most unique and intimate stops on the tour This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

In the early seventies, Joey Gilmore embarked on his musical journey, captivating audiences with a series of unforgettable singles that showcased his raw talent and unique style. It wasn't until 1977 that the culmination of his musical endeavors arrived—the release of his highly anticipated debut record.

This debut album marked a pivotal moment in Joey Gilmore's career, solidifying his reputation as a self-taught guitar virtuoso and soulful singer. The record resonated with listeners, capturing the essence of his artistry and leaving an indelible impact.

Now, after a 45-year wait, the time has finally come for a vinyl reissue of Joey Gilmore's debut album. This reissue is a celebration of his timeless music, meticulously crafted to preserve the authenticity and integrity of the original recording. Every note, every lyric and the original design of the sleeve has been lovingly restored to transport you back to the magic of that era.

Get ready to immerse yourself in the unadulterated funk and soul of Joey Gilmore's music, as this remarkable reissue brings his debut album back to life. Allow the melodies and rhythms to envelop you, taking you on a captivating musical adventure that transcends time. Revisit the magic, rediscover the artistry, and let the music of Joey Gilmore captivate your soul once again.

Moving to England for its second release, Rant & Rave Records presents a proper EP from South Wales-based producer JoeFarr, known for his dancefloor jams on labels such as: 'SLAM', 'Arts', and his most recent success with 2019's epic 12" 'Death Becomes Us'. On the a-side 'In This Anger', which JoeFarr has written with Louisahhh, an anxiously dark, slowly developing atmosphere menaces behind a slow rolling, broken beat for maximum effect. This is punctuated by dark, slightly distorted female vocals with sporadic lyrics subtly encouraging its dance floors to move.. and think. Signature hard and bouncy grooves with infectious in-yer-face techno riffs dominate the rest of the EP with tracks 'Laced Up', 'You Can See Me' and 'You will See Me (Hardcore)', effortlessly weaving in and out of the pulsating groove with an interesting palette of machine sounding synths and heavily processed vocals.

From the towering influence of Charley Patton and Son House to lesser- known artists shrouded in mystery, these seminal recordings helped lay the foundations or the electric blues and rock explosion to come.

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

On the occasion of its exceptional evening at the Cabaret Sauvage, Tricatel is releasing a superb vinyl compilation of thirteen tracks, including several previously unreleased ones. It's a collector's item for long-time fans and for those who want to discover the label.

The Tricatel Machine compilation pays tribute to this unique evening, including each artist present at the party. But not only that! Of the thirteen tracks, many are new or unreleased on vinyl.

Curated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track
compilation album features tracks the pair have played at their peripatetic, Europe wide
events since 2012.
Stretching from the 1970s to the present day the Reference Point compilation spans a whole
range of genres, tempos, languages and grooves where the quality of music is paramount
whether $1.00 bin records or $1000 rarities.
Reference Point, 'a place to hear the music', is a truly trans-global album with music from
Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private
press albums, from artists who have played at Reference Point events and from current
artists such as MF Robots and Caixa Cubo.
Releasing as a CD, digital and a double LP, Reference Point is another essential compilation
from BBE Music and one that belongs in the collection of all collectors and lovers of great
music

Carole Porter grew up around Manny Campbell, acclaimed producer of Nu'Rons fame and one of those characters that kept feeding jobs to Joe Tarsia contributing to the greatness of his Sigma Sound Studios.

Carolynn was also vocalist in his jazz band from 1966 to 1969 that included jazz legends John 'Papa' DeFrancesco (father of Joey DeFrancesco), and Grover Washington Jr. She never commercially recorded anything else, continued to gig until she settled into marriage/family life. These masters were retrieved from the original reel tapes now preserved at the University of Pennsylvania. We are proud to finally release this song (and a few others over the next months) thanks to that immense character of Manny Campbell and the younger members of his family.

Here John Cohen, Mike Seeger, and Tracy Schwartz provide backing for Cousin Emmy, the skilled banjo player, fiddler, and singer, whose legacy as a country music pioneer is cemented in the memories of those who heard her animated performances onstage and on the radio. This album contains some of her only recorded material, including several of her own compositions along with selections of old-time and bluegrass repertoire.

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE NOW LEGENDARY SPACE DREAM SESSIONS!

In around 2001, Joel Ricci, the trumpet player/composer behind his former stage alias, Lucky Brown, went traveling on a worldwide "quest for funk". During that pilgrimage, he went to London England in time to attend Keb Darge's 'Legendary Deep Funk' 6-year anniversary at Madame Jojo's. While in the middle of the dancefloor, he was moved so significantly by this obscure brand of 'deep funk' Mr. Darge was unveiling, he became overcome by a mystical sense of 'coming home'. Additionally, he spent a week at Camden's Jazz Cafe to meet The Poets of Rhythm, The Breakestra, The Sugarman Three, DJ Snowboy, DJ James Trouble, and others. When Joel mentioned the nature of his quest to Neal Sugarman, he warmly invited him to come visit Brooklyn and kick it with members of Antibalas, Binky Griptite & The Mellomatics, and the Dap Kings. But before the trip back to the states, Joel spent some time in Paris playing his trumpet at a club called 'Cithea' where they would host weekly 'rare groove' jam sessions. During the jams, Parisian students of Tony Allen would overtake the stage with their instruments and their full African clothing, chant the word, 'Fela', and begin to play this intense free improvised funk and afrobeat. While traveling by train from Paris to the south of France to visit family, Joel began hearing this inspiring polyrhythm swirling in his inner ear and mixing with the "clack-clacka" of the train moving down the track. As soon as he arrived at his destination, he sat down at a piano and jotted down the polyrhythm, bass line and fundamental horn cluster on a piece of sheet music paper. The simple tune was finally rendered to tape ten years later with Lucky Brown's Crawdad Farmers aka The Funk Revolution on the Magik Carpet at drummer Olli Klomp's Lakeside log cabin in Stanwood, Washington. The tune became the title track to Lucky's first full-length on Tramp Records (Lucky Brown's Space Dream, TRLP-9011).

Space Dream is so titled in part to commemorate a soulfunk masquerade party Joel threw at a temporary all-ages Bellingham Washington music venue called 'The Pickford Dream Space'. This is Joel's stripped-down tape-only remix and re-edit which has never before appeared on 45RPM and commemorates the re-release, remaster and repackaging of upcoming Tramp LPs, "Space Dream" and "Don't Go Away", the fully realised 'director's cut' featuring Ricci's early group funk experiment: "The Funk Revolution."