Cerca:out of city

It is with extreme pleasure that we, Basement Boys Records proudly announce our 100th single release and 30th year in the music business as an active recording label!

Holding down our 100th release is the legendary multi-faceted singer/songwriter/producer Byron Stingily. As one third of the Chicago-bred, world renown trio, Ten City and as its primary lead vocalist, Byron’s velvety falsetto graced such House Music staples as “Devotion”, “That’s the Way Love Is”, “My Piece of Heaven” along with scores of other classic House music favourites. As a solo artist, Byron went on to create such memorable House jewels as “Get Up” & “It’s Over” a classic collaboration with the Basement Boys for his project on Nervous Records.

“We Belong Together” contains four mixes. The Monday Night Vocal Dub and Instrumental are up first, with percolating congas and swinging violins that accentuate the well-paced drums and percussion of this delectable mix. The brassy horns sing in tandem with Byron as he tugs on the heartstrings with his romantic, chromatic vocal adlibs and signature riffs. The sugar-laden strings and sparkling pianos brings to mind the 90's Ten City production of Marshall Jefferson.

DJ/songwriter/musician/producer, Maurice Fulton is one of House music’s true originals, back where he started. Maurice had the first release on Basement Boys Records with Sticky People "Kong". A man with a mind-blowing complexity behind all that is deep, dark and funky.

Fulton’s mix takes a more soulful tech approach employing a host of electro sounds. A fervent polyrhythmic vortex of percussive wind chime effects, married with classic snares, tom toms & hi-hats, deep sub bass and a meaty kick all define this masterful alignment of electro and acoustic elements. At the midway point, Maurice turns the suspense-filled symphonic intro from the previous mixes into this electro breakdown groove fest sure to drive dancers into a frenzy complete with Byron’s heartfelt lyric.

Closing it out the Main Mix in all its glory, hi-powered, dense bottoms and percussive elements, sweet R&B “boogie” style chords, neatly placed horn accents with Byron slaying the lyric as he always does in his exquisite, soulful pleading falsetto telling the object of his affection, “We Belong Together”.

Ryley Walker currently resides in New York City. But his latest LP is a Chicago record in spirit. The masterful Course In Fable, the songwriter’s fi@h solo effort,
draws from the deep well of that city’s ferCle 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground,
mixing and matching indie rock, jazz, prog and beyond.
Walker spent his formaCve years in Chicago, absorbing those heady sounds and finding ways to make them his own. Even though he emerged at first in folkrock
troubadour mode, it makes sense that he’s arrived at this point; each LP has grown more intricate and assured, his influences disClling into something
original and unusual. To put it simply: Course In Fable is Walker’s best record yet, full of acCve imaginaCon and endless possibiliCes.
Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP. John McEn:re, Course In Fable’s producer/engineer/
mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now
spans more than three decades. Seeing his name in an album’s liners is preVy much a trademark of quality.
Another Windy City exile, McEnCre is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. On the seven songs
here, he delivers the signature shimmering and prisCne sonics he’s become known for over the years. But McEnCre was also inCmately involved with Course
In Fable’s overall creaCve process. “I told him to take the mixes and have at it,” Walker says.
The result is a rich, immersive affair — a headphones record if ever there was one. Course In Fable’s songs are twisty, labyrinthine things, stuffed full of ideas
(Walker half-jokingly calls it his “prog record”). But no maVer how complex it gets, the album is never overwhelmingly busy. Wiry guitars melt into gorgeous
string secCons (arranged by Douglas Jenkins of the Portland Cello Project). Tricky Cme signatures abound but feel as natural as can be. Melodies o@en dri@ in
unexpected direcCons but remain downright hummable. Like Walker’s beloved Genesis, the pop element is never too far from the surface even when shit
gets weird. (And speaking of weird, Ryley says that in addiCon to Genesis, much of the album’s inspiraCon comes from “Australian extreme scooter riders on
YouTube and balding gear heads on Craigslist.” Go figure.)
To help put together these various puzzle pieces, Ryley assembled a band made up of several longCme collaborators. Bill MacKay (another Chicago mainstay)
and Walker have made two excellent instrumental duo records of interlocking guitars and warm give-and-take — a rapport very much in evidence
throughout Course In Fable. The freakishly talented drummer Ryan Jewell has performed with Walker for years now in a variety of seangs, from
straighborward song-centric sets to blown-out improv extravaganzas. Bassist Andrew ScoJ Young (Tiger Hatchery, Health&Beauty) has logged many miles on
tour with Walker; he and Jewell are frequently astonishing, a buoyant-but-always-locked-in rhythm secCon, able to navigate someCmes dizzying turnarounds
with apparent ease. Listening to the interplay between Walker and these musicians and you might be fooled into thinking they’d spent a year roadtesCng
Course In Fable’s songs. But it all came together relaCvely fast, thanks to demos, rehearsals and the kind of musical empathy that comes from years of
playing together.
Beneath the wondrous interplay, you’ll find some of Walker’s most personal – if sCll typically crypCc — lyrics, hinCng at some of the trials the songwriter has
been dealing with in recent years. Balanced with necessary doses of dark humor and oddball poetry, Course In Fable feels most of all like a life-affirming
record, fresh air in the lungs, sun on your skin. “Fuck me, I’m alive,” Ryley sings at one point, a moment of both disbelief and pure joy.
Walker has released his albums on a who’s-who of independent labels over the past decade — Tompkins Square, Dead Oceans, Thrill Jockey and Drag City
among them. This Cme around, he’s doing it DIY-style, puang Course In Fable out on his own Husky Pants imprint. You’re in good hands. This is an album that
sounds great (mastered by Greg Calbi), looks great (artwork by Jenny Nelson and design by Michael Vallera). It probably even smells great. Whether you’ve
been onboard since the beginning or are new to the Ryley Walker universe, you’re in for a treat.

‘Any Other City’ by Life Without Buildings, the only
album recorded in their brief existence, is
repressed and available again. Originally released
on Tugboat Records (a Rough Trade affiliated
label) in February 2001, ‘Any Other City’ has slowly
become a widely admired cult album.
Life Without Buildings formed in Glasgow in 1999,
they existed for three years and then split in 2002,
having released just one album and three double A
side singles, yet they’ve continued to build a
strong underground following in the years since,
which has culminated in copies of the original
album on vinyl changing hands for exorbitant
figures and numerous musicians citing it as a
major influence and inspiration.
Frontwoman Sue Tomkins’ unique vocal delivery
which is somewhere between talking and singing,
a kind of narrative, combined with the often spiky,
course backing that the rest of the band provide,
tends to prove magnetic after a few listens.
Life Without Buildings managed to be utterly
unique in the sound they made and ultimately
that’s what has made this album’s reputation grow
over time to be deemed absorbing, timeless and
utterly essential listening.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!!
Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

LTD EDITION TRANSPARENT VINYL

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

"Where Do We Go From Here" is Dumpstaphunk's first album in seven years. It will be released on April 23, 2021 on The Funk Garage, an imprint of Mascot Label Group.
Over its past 17 years, Dumpstaphunk has earned its reputation as the most well-regarded next-generation New Orleans live powerhouse, the type of band whose live shows attract sit-ins from legends like Carlos Santana, Bob Weir and Trombone Shorty. Alongside Hall, Daniels, Alex Wasily, Ryan Nyther and drummer Devin Trusclair, cousins Ivan and Ian Neville have built upon their family’s iconic NOLA legacy as they’ve transformed Dumpstaphunk into the city’s pre-eminent 21st-century funk-fusion export.
The band’s mix of classic and modern influences can be heard throughout the party-friendly mix of R&B, funk, rock, swamp-pop and blues of "Where Do We Go From Here," from the slap-bass rave "Make It After All" to the band's contemporary renderings of NOLA R&B rarities (the 1975 Blackmail gem "Let’s Get At It") and early Seventies classics (Sly and the Family Stone's "In Time”).
‘Where Do We Go From Here’ is perhaps the best evidence yet of Dumpstaphunk’s ability to strengthen and transform their singular NOLA roots in combination with the deeper outside musical and philosophical influences on which the band is founded.

LEGENDARY SESSION ! FIRST TIME EVER ON VINYL AND CUT DIRECTLY FROM THE ORIGINAL MASTER TAPES WITH NO DIGITAL PROCESS WHATSOEVER!!!

TIP ON SLEEVE PRINTED JUST LIKE THE OLD NIMBUS LP’s FROM THE 70’s and 80’s… BRAND NEW ARTWORK FROM ORIGINAL SESSION PHOTOS AND LINER NOTES BY Mark Weber

At long last…On Vinyl…From original tapes. 3/5ths of the Quintet that recorded "‘the Giant is Awakened’ LP in 1969…this album sat unreleased for 20+ years before it saw a small run on cd (with poor mastering the early 2000’s), now, 40 years after it was recorded, finally released in the original format it was intended for….This LP sounds fresh and amazing…if you’ve only heard the cd, you’ve not truly heard this lost gem in its full glory. edition of 500




Born in Mississippi in 1937 and beginning to play the saxophone at 14, Billie Harris relocated to Los Angeles in 1965 after a 4 year stint in the Air Force, becoming one of the great, unsung forces of underground jazz in the city for many years (he later relocated to the Mojave Desert, where, at last record, he still plays in a church band). A Venice Beach street musician and longtime member of the Pan Afrikan Peoples Arkestra - you can hear him playing on Live at I.U.C.C. and Flight 17, as well as Jesse Sharps Quintet & P.A.P.A.’s Sharps and Flats (reissued in 2018) - he was also director of the AZZ IZZ jazz club in Venice Beach during the 70s.




On April 29 and May 3, 1980, Harris entered the studio, backed by Horace Tapscott on piano, David Bryant on bass, Daa’oud Woods on percussion, and Everett Brown Jr on drums, recording, over those two days what was to be his only outing as a leader. Once heard, the tragic lack of further material can’t be ignored. It is a truly stunning piece of work, even more surprising for the fact that it sat unreleased for over 20 years, only to be released as a small, poorly mastered edition on CD during the early 2000’s. Now, finally appearing very first time on the format and label for which it was intended, 40 years after it was recorded, we can hear this lost gem in all its glory.




Harris was 43 years old at the time of the Nimbus West sessions that resulted in I Want Some Water, and the power and experience of his playing, honed over three decades, shows in full force. The band is equally imbued with power, sensitivity, and experience. Tapscott, Bryant, and Brown’s working partnership goes back to 1969, when they recorded Tapscott’s debut as a leader, The Giant Is Awakened. In quintet’s hands, channeling the heavy modal relationships pioneered by Coltrane, heavy spiritual groove lock and unfurl, threaded by the release via incredibly forward-thinking improvisation.




Like so much of the work that came out of the Pan Afrikan Peoples Arkestra scene, I Want Some Water has a giant sound, each track long in length, building slowly over time toward towering heights that leave the listener immersed in one of the greatest treasures of spiritual jazz that almost nobody ever heard. Rhythmic, rollicking, and tonally inspired, the joyous interplay of the band goes deep, locked in, and challenging the predictable path, while making nods to numerous, discreet traditions of music.




As far as reissues go, Nimbus’ first ever vinyl pressing of Harris’ I Want Some Water is about as good as it gets. Not only does it deliver some of the best music we’ve heard all year, but it takes huge steps toward allowing a crucial artist to be celebrated in a way that he’s always deserved.

Cut directly from the original master tapes, featuring brand new artwork from the original sessions and liner notes from Mark Weber, and issued in a limited edition of 500 copies, it’s an absolute must that can’t be missed.

The Peterson Brothers - keyboard player Ricky, bass player Billy, drummer / guitar player Paul and their nephew, saxophonist Jason - are true
brothers in arms, Minneapolis institutions, members and survivors of that city’s musical revolution. They lay the music out like an
uptown groove buffet.
You don’t need to be smart to feel the beat of the heart; you don’t need to play dumb to feel the beat of the drum. This is music everybody can get with.
Natural talent by the yard and years of playing with the some of the best of the best - from Prince to Bonnie Raitt, Eddie Harris to Mose Allison, Dave Sanborn to Boz Scaggs, Fleetwood Mac to Bob Dylan, and that barely scratches the surface - make this tribute to a legendary musical family a back-slapping, finger-popping good time.
The fact that it took a couple of decades to get these world travellers together into the same room for a couple of days only proves that when the time is right the real deal is on the table. Praise the lord and pass the ammunition, the Peterson Brothers are in town!

Half & Half Colour Vinyl Disc 1: Yellow/Magenta Disc 2: Turquoise/ Magenta


Double album that includes;
45rpm bonus disc with the singles and B sides
Gloss laminated gatefold sleeve
printed inner sleeves, containing lyrics, photos and interview by The Mouth Magazine
“Pleasure Bag” containing 4 postcards, 2 stickers, A stencil, Repro Tour Poster, Repro promo posters for “Go For Gold” and “Politics/ Its Fashion” singles. Press photo and Press Flyer

In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after that first record.

Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are included here as bonus tracks on a 45rpm 12”– including the wonderful ‘Getting Nowhere Fast’ (later covered by The Wedding Present), its coruscating b-side ‘Warm Girls’, ‘Politics!’, ‘Go For Gold’ and ‘Fast Boyfriends’

Their influence can be seen on innumerable C86/indie bands who came afterwards

Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records. Mora I & II will be out as two vinyl LPs, CD and digitally 16th April 2021.

17 Track compilation of all of their studio recordings, remastered and pressed on Electric Blue Vinyl. Presented in gatefold sleeve with never seen before photographs ,a printed lyric inner sleeve and poster.
The VIP’s were formed in 1978 while at Warwick University. Within weeks they were gigging at clubs in the Midlands, often on the same bill as THE SPECIALS in Coventry. Soon they found a manager, Clive Solomon, who with Timmy Mallet (now a TV and Radio presenter) and both students at the university, financed the group’s first single the EP ‘Music For Funsters. In the summer of 1978 they built up a loyal following in London. The single was picked up by John Peel, who played it constantly on his BBC radio show through the year. The 3 track EP, featuring ‘I’m Perfect’, ‘I Believe’ and ‘Boys of the City’ was released on Clive Solomon’s own ‘Bust’ label.
In 1979 the VIP’s could be found playing all over the country, frequently on the same bill as Squire, stablemates on Clive Solomon’s label.
In early 1980 they went into Olympic Studios in Chiswick to record some tracks with ex-THE ANIMALS bass player and SLADE/Jimi Hendrix manager Chas Chandler. The track ‘I Thought You Were My Friend’ was recorded at these sessions A few weeks later a major record deal was agreed with Gem Records/RCA and ‘Causing Complications’ came out in March. To coincide with the release the VIP’s went on tour supporting SECRET AFFAIR.
After the tour the single ‘The Quarter Moon’ was released, another track produced by Mike Leander. It received extensive airplay around the UK and beyond, and was also picked as BBC Radio 1’s Record of The Week by DJ Mike Reid on his Morning Show, as well as being Radio Luxembourg’s ‘Power Play’ for two weeks. The constant touring, recording and radio play had earned them a spot on Top of The Pops but they were suddenly told -on the afternoon that they were due to appear - that an industrial dispute at the BBC had resulted in the show being cancelled. Disappointed, they continued to record and tour, this time with MADNESS, THE BEAT and DEXYS MIDNIGHT RUNNERS amongst others. This time Bob Seargent (of The BEAT and HAIRCUT 100 fame) was recruited to give ‘Need Somebody To Love’ that sparkle and edge to capture The VIP’s live sound on vinyl. Although perhaps the most representative of the band’s sound, Top of The Pops again eluded them.
By the end of 1980 the VIP’s were selling in Spain, Germany, Italy and France through the RCA label but they seemed to be losing heart with the business. Illness -Jed had been touring with a collapsed lung - and tensions saw the band play their last concert at Leicester University. A fourth and final GEM single, ‘Things Aren’t What They Used To Be’ (a song taken from their earlier Mike Leander recording sessions) proved to be their last. With several songs still to be recorded, it was a frustrating time for all.
Paul Shurey and Guy Morley has already made alternative plans for THE NEW VIP’s and recruited Simon Smith from THE MERTON PARKAS to play drums while Paul returned to his native keyboards. With Tony Conway on guitar and Andy Godfrey on bass they became MOOD SIX.
Paul Shurey played a central part in the birth and proliferation of the Rave movement in the 80’s, 90’s and 2,000’s, initiating a great a great many DANCE RAVES all around the world. Very sadly he died in 2017. He was also a gifted artist/cartoonist, and it’s his picture which graces the album’s sleeve. He is a brother very greatly missed.
Guy Morley works in film editing and Andrew Price is involved in developing community projects in and around his native Bristol.
“We became lifelong friends and shared a great and very exciting rock and roll dream.”

Built on a foundation of authenticity, passion and innovation, Archie Lee Hooker & The Coast to Coast Blues Band is a spearheading group that has established itself in the world of music. Formedby Archie Lee Hooker, the nephew of John Lee Hooker, Archie and his leading handpicked team arehighly recognised for creating compelling, soul-enriching productions that leave their audienceswanting more.
Archie was born on Christmas Day of 1949 in Lambert, Mississippi, just 20 miles from thecrossroads where Robert Johnson supposedly sold his soul to the devil. He was the son of a sharecropper, and up until age thirteen, that was the life he was accustomed to. That all changed when he headed up north and found himself standing in the big city of Memphis,Tennessee.
The paved roads and city lights felt like a new world to Archie, one that was filled with opportunities. Inspired by the Memphis music scene, it didn’t take long for Archie to begin singing with his first gospel group called The Marvellous Five. However, December of 1989 was when hispassion for Blues started to surface. During this time, Archie lived with his uncle, John Lee (the Boogieman himself) until his death in 2001. Being surrounded by him and other committed, talented, and influencing musicians is what became the catalyst for Archie to crave sharing his own life experiences through music and leave his lasting impression.
Though Archie left for France in 2011 to join Carl Wyatt & The Delta Voodoo Kings to tour Europe, he eventually chose to seek the right musicians to have on his side. He wanted a team that resembled family, chemistry, and a bond unlike any other. Once he found them, Archie founded the Archie Lee Hooker & The Coast to Coast Blues Band, which was specially named after the late John Lee’s Coast to Coast Blues Band. Since then, the crew has done nothing but thrive and impress.
They released their first album called ‘Chilling’ under the French label Dixiefrog in 2018, which received a 5-star review in Rolling Stone Magazine. Fast forward to today, they have recorded a new 12 song CD called ‘Living in a Memory’, and this all-original playlist of storytelling art is set to be released through Dixiefrog worldwide on April 16th, 2021. In the end, every song and performance that Archie Lee Hooker & The Coast to Coast Blues Band creates paints an incredible picture that inevitably provokes uplifting emotional influences and invested attraction.
They are entirely passionate about delivering remarkable music, and continuously provide fully authentic productions that have shaped them to become what they are today. With their immense drive and determination, it is exciting to see what they will launch next.

Surrender is the debut full length from DJ, producer, and songwriter Endgame. Stepping out for the first time as a vocalist, and lyricist, Surrender is his most ambitious and vulnerable work to date; a striking statement of intent, with moments of beauty and brutality. Endgame has carved an iconoclastic niche in club culture. Breaking into the scene as co-founder of the legendary collective Bala Club, and resident of the radical club-night Endless. Whilst continuing almost a decade hosting his infamous NTS radio show (and now label) Precious Metals, he has forged a path against the tide of formulaic club music. A visionary DJ and producer, Surrender sees Endgame continue this trajectory, with a project that both amplifies the ferocious club constructions he's known for, whilst making space to open up wounded memories and with sombre unfeigned requiems. Having previously released records on Hyperdub, PTP, Golden Mist and Infinite Machine, Endgame's first release on his own Precious Metals imprint, is him at his most reflective. Surrender is a deeply personal record, about loss and finding meaning in despair. Death is a prevailing theme, with the passing of his father a totemic subject. The recollection of his father's torturous final moments leaves him to mournfully contemplate temporality. Using this sense of anguish, he blurs reality-creating a world where angels and demons are among us in a decaying cityscape; akin to the work of Todd McFarlane. The opener Faithless, propels us into this world, with the slow build of industrial precision amidst the sombre build of harsh melodic synths. We descend deeper into this vision with Barbed Heart, featuring a defining vocal from scene staple and long time collaborator Yayoyanoh, as 808's and skittering hi hats ricochet off one another beneath his bass driven vocal. No Heroes continues our journey into the unknown with a chaotic rush of acidic riffs, pounding percussion, and a reference to the brutalist anthem from hardcore punk band Converge (where the track borrows its name). Requiem acts as the turning point of the record as Endgame steps into the foreground as a vocalist. As the name suggests, this lament is a sombre reflection of grief; its minimalist instrumental allows Endgame's haunted verse to rise into the foreground, like an apparition amidst the smoke in the depths of a dimly lit club. The dark clouds fade into the distance in Exhumed, as the elegant melancholic vocal of Bala Club affiliate and gifted vocalist Organ Tapes reflects off Endgame's sanguine verses bringing hope into the heartfelt instrumental filled with melodic flourishes and bass-bin rattling subs. The thematic haze thickens in Abyss, as the pulsating and doom laden instrumental interweaves with Endgame's sepulchral vocal. Like a message from the void, his words act as an agnostic hymn that pulls apart his sense of self. The contrast of his plaintive verse with the intensity of the instrumental creates a contrast that is symbolic of the record itself, a duality that presents moments of soft reflection against a severe sonic palette to create moments of transcendence.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Long out of print and highly anticipated repress of the Andrew Weatherall ‘anti-produced’ long player. The Twilight Sad’s third full-length, No One Can Ever Know, marked a sonic shift for the band



'No One Can Ever Know' was released across all formats on 6th February 2012 and was the follow-up to 2009's acclaimed break-through 'Forget The Night Ahead'. Already flagged by the widely leaked 'Kill It In The Morning' and forthcoming first single proper, 'Sick', 'No One Can Ever Know' marked a sonic shift for The Twilight Sad. Freshly inspired by a listening diet of Caberet Voltaire, Liars, Magazine, Autechre, Banshees, Fad Gadget, PiL and Can, a synth-heavy sound characterizes 'No One Can Ever Know', a record thematically akin to 'Holy Bible' era Manics, 'Violator'-era Depeche Mode and 'The Downward Spiral' -era Nine Inch Nails.

"We wanted to be a lot more spontaneous, get outside our comfort zone - not to fall back into repeating what we've done previously", explains guitarist Andy MacFarlane. "So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of the direction we were already progressing in - toward a sparser sound, with a colder, slightly militant feel."

Under the guidance of Weatherall the band experimented with vintage analogue synths - borrowed from Ben Hillier - to work on the core sounds they wanted, finding inspiration too in the distinctive production style of innovators like Martin Hannett and Conny Plank. For the first time the drums were also recorded separately utilising a lot of synthetic effects which allowed for the easy manipulation of the sounds and samples later in the process. Stylistically, the guitars tend to refract John McGeogh (Magazine/ Banshees) or Keith Levene (PiL) rather than the 'wall of sound' approach that defined The Twilight Sad's previous recordings.

Lyrically 'No One Can Ever Know' finds singer James Graham on typically ominous form, delivering lightning bolts of malevolent threat. "I'll find you - don't worry" he promises on forthcoming single, 'Another Bed' - The Twilight Sad's most radical and anthemic moment yet, it's driving disco motorik and glacial keys pushing a dizzy emotional uplift.

Bill MacKay and Nathan Bowles’ debut is well titled: keys are what they play
and keys unlock things too. Their trad bonafides are balanced with
inquisitive playing that adds surprise as a formal songwriting and arranging
tool. Spirited 21st Century folk music made of equal parts bluegrass,
classical, country, gospel and improv.
‘Keys’ is, on first blush, a collection of guitar and banjo duets - but from the
opening moment, it is clear that Bill and Nathan’s agreed-upon duo is a
living organism, growing as it goes. Behind the stately figures of ‘Idumea’, a
19th Century southern hymnal played out on their stringed instruments, a
low organ drone hums persistently, signalling that this music, while coming
from traditional places, is asking more of itself, seeking sparks of inspiration
to light the path forward.
Bill and Nathan met a few years back, if time has any meaning. It didn’t
seem to at the time - after the first night they hung out, it seemed as if
they’d known each other for a while already. A year later, in 2018, they
were booked as a duo at Cropped Out. Preparing for the show involved a
correspondence exchanging lots of provisional ideas, thoughts and music
back and forth from Chicago to Durham NC, then dashing through the ideas
again on the festival grounds an hour before the show. From this seemingly
hectic preparation, their playing that night was remarkably serene, a
spiritual treatise clothed in the casual and natural manner of the proverbial
porch, or in this case, riverside-jam, as the stage literally straddled the edge
of the Ohio River. It was a stellar, simpatico first moment that asked for
more moments like it.
After several more sets the following year, they felt ready to roll tape (as the
saying goes) and chose to do so in Chicago, with Nick Broste at The Shape
Shoppe. Again, an easy rapport prevailed, allowing them to work through
their collected ideas quickly and freely, with the moments of spontaneous
decision that can come only with comfort and trust in each other’s presence.
Throughout ‘Keys’, Bill and Nathan propel their power-folk engine with intent
and feeling, joy and solemnity, as images of wariness, wonder, anger,
deliberation, forgiveness, trust and devotion rise up from the music and roll
it forward into the unknown, a place we can sense both players are happy
to go.
Eight of the ten songs featured are originals, with the other two coming
from different centuries to this one. The diversity of song is matched by the
instrumentation: in addition to Bill’s guitar and Nathan’s banjo, they add
voice, piano, percussion, pump organ, requinto and electric organ to the
richness and rusticity, the traditionalism and open space of the
compositions.