Suche:pharaoh

David Gray ist zurück und macht das, was er am besten kann, und Fans von komplexem, ernsthaftem, lyrischem Songwriting sollten sich freuen. "Dear Life" ist vielleicht das tiefgründigste, seltsamste und schönste Album, das dieser bahnbrechende britische Singer-Songwriter je abgeliefert hat. Nach jahrelanger Arbeit ist es ein Album über emotionale Krisen und deren Bewältigung, über Sterblichkeit und Glauben, Realität und Illusion, Liebe und Herzschmerz, Magie, Wissenschaft, Verlust und Akzeptanz. Es ist voller Sehnsucht und Hoffnung, aber es gibt auch einen Unterton von Dunkelheit, eine Spannung zwischen den konkurrierenden Kräften von Hoffnung und Verzweiflung: eine Kavalkade von Emotionen in seiner bisher lyrisch fokussiertesten Sammlung. "Dear Life" ist das 13. Album von David Gray und "eine Sternschnuppe des Songwritings ... es schien einfach so, als wären die Götter des Songwritings gnädig gewesen. Die zweifelnden Stimmen haben sich nicht gemeldet." David Grays Geschichte ist mit keiner anderen vergleichbar. Er hat fast ein Jahrzehnt lang auf den Durchbruch hingearbeitet, und als er ihn dann schaffte, geschah dies auf die denkbar größte Art und Weise: das 1998 veröffentlichte "White Ladder" wurde zu einem der meistverkauften britischen Alben der letzten Jahrzehnte und etablierte ihn als einen arenafüllenden Künstler. Im Laufe der Jahre hat sich sein Songwriting durch seine natürliche Fähigkeit, bestimmte Emotionen, Atmosphären oder, wie auf seinem gefeierten Album "Skellig" aus dem Jahr 2021 zu hören, die Wahrnehmung eines Ortes zu vermitteln, nur noch vertieft. Während Leute wie Ed Sheeran, Adele und Hozier seinen Einfluss anerkannt haben, ist David weiterhin seinem eigenen künstlerischen Weg gefolgt.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Good and smoked out rasta vibes from the new album by Dreadsquad and friends !

Jah vibes with a pinch of Ska feels, nice one guys !

180 Gram Vinyl LP Mono includes free hi-res download. This is a sensational previously unreleased live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders. Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on The Dreamer and Last Night Blues (it was the last night of the run). He plays the shenai - a kind of oboe - on Blues For The Orient, the xun - a Chinese flute - on Song of Delilah, and tenor saxophone on Yusef's Mood. The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way.

Influential DJ, producer, radio-presentator and founder of the Acid Jazz and Talkin’ Loud labels Gilles Peterson has handpicked his jazz favourites from the immense catalog of the Dutch jazz Timeless label. Included are Pharaoh Sanders’ cosmic jazz “Moonchild”, vocal-jazz from Carter Jefferson’s “Why”, danceable-jazz from Tom Grant “No Me Esqueca”, Art Blakey & The Jazz Messengers’ “In Case You Missed It”, making a total of 11 tracks.

In 2015, Peterson put together a Japan-only CD compilation of 10 of his favourite tracks, but for the vinyl version, the track list has been augmentend with the previously unreleased version of “Gibraltar (Alternate Take)” by Kirk Lightsey Trio feat. Freddie Hubbard, and “World Peace” by Timeless All Stars.

Timeless Jazz Classics Volume 1 is available on black vinyl and includes an insert with liner notes and track-by-track information by Gilles Peterson.

New Orleans Voodoo Psych Fuzz Boogie Blues aus einer finnischen Irrenanstalt in Helsinki, drei Jungs flogen über das Kuckucksnest und machten dieses erstaunlich schräge Album... früher spielten sie in Black Magic Six und Cosmo Jones Beat Machine, für Fans von Captain Beefheart und Chuck E. Weiss oder Dr. John GOBLIN SHARK ist ein Hybrid aus einem finnischen Irrenhaus, einer transsexuellen Göttin und einer verkommenen, dunklen After-Hour-Blues-Rock'n'Roll-Fuzz-Psych-Voodoo-bar in New Orleans. Sie alle treffen sich in Helsinki, Finnland, um ihre Musik zu machen, Taskinen spielt in Bands wie Black Magic Six, Heavy Breathers oder Disgrace, der zweite, noch verrücktere Gitarrist und Meister selbstgebauter Mini-Gefängnisgitarren Pharaoh Pirttikangas veröffentlichte zahlreiche Soloalben und war mit Cosmo Jones Beat Machine unterwegs, Nubialaiset und Astro Can Caravan unterwegs, dann kommt Neuvonen, er ist ein Black-Metal-Schlagzeuger aus Tempere, Jeder liebt den Blues und die verwirrende Seite des Lebens aus finnischer Sicht, wenn Sie wissen, was ich meine. Kann man ihre Musik in Richtung Captain Beefheart und Chuck E. Weiss mit der rohen Kraft der Stooges oder Dr. John einordnen. Ich weiß es nicht. Aber ich habe sie 2023 auf meiner Tour in Helsinki getroffen und war von ihrer Performance, ihrer Musik und dem anschließenden Bier in einem Helsinkier Bierclub so begeistert, dass wir beschlossen, GOBLIN SHARK auf Voodoo Rhythm zu veröffentlichen. Taskinen hatte bereits einen Trip in die Schweiz von Black Magic Six gemacht und Robert Butler (der von den Miracle Workers) getroffen und sind seitdem befreundet, so dass es Sinn machte, dass Robert 'Mr. Butler' das Artwork des Covers für die Band entwarf und es wurde so, wie es sein musste... ein komplette Hirnschmelze , und so sind auch die 10 Songs, die dich wegblasen werden wie nichts anderes - dies ist verwirrter dreckiger Blues Rock'n'Roll der außerirdischten dritten Art. Tiefschwarzes Vinyl, bedruckte Innenhülle, gratis Download Code oder Digisleeve-CD mit Booklet.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Finland has long had a uniquely progressive underground, with thriving punk, avant, jazz, and rock scenes with oversized output and impact. Jussi Lehtisalo’s (Circle, Pharaoh Overlord, Mahti, etc) label Ektro has been at the center of this activity for the last three decades, with a stream of excellent and conceptually bonkers releases covering music of all types. Here Lehtisalo joins up with Jan Anderzén (of Kemialliset Ystävät among others) for an album of absolutely fun and unusual miniature duets that sound like alien Library music beamed in from the outerlands. Tracks like “Luukku Yksi” and “Puistossa” use a charmingly retro synth-y sound palate and Cluster-like melodic sensibility to make accessible some deceptively “out” music. Some cuts (like “Kylpy”) have a vague hint of early ’80s post-punk / new wave vibes, bouncing along in a friendly way with odd interjections of sample debris and electronics jumping out of the mix to keep it weird. The surging “Hymy yössä” could be music for the credits of the world’s hippest newscast. Beautiful jacket by renown Helsinki-based artist Dylan Ray Arnold, bringing the die-cut techniques of their gallery pieces like “Growth of the Night Plants” to LP form.

3 cuts of the classic rhythm from Yabby You. ‘King Pharoah’s plague is coming down on the land’, righteous soulful rendition of old testament doctrine. Yabby always delivered his lyrics with authenticity and passion. This 3 track EP comes with the Tommy McCook cut and a thumping Tubbys dub. One of Yabby's most essential rhythms. Comes in a Pressure Sounds house disco bag. Rocking time is here!

"Sun Dogs" nennt sich das unglaubliche Debütalbum des Songwriters und Produzenten Jamie Finlay aus Manchester, eine einzigartige Mischung aus elektrischem Soul, spirituellem Jazz und Psychedelia mit Einflüssen von Pharaoh Sanders, Ethio-Jazz, Herbie Hancock bis zu den Mizell Brothers. Zur Kernband Finlays gehört u.a. Sängerin & Multiinstrumentalistin Ellen Beth Abdi (A Certain Ratio). Abgemischt wurde "Sun Dogs" von Finlay zusammen mit dem Toningenieur Phil Kirby (Mr. Scruff, 808 State).


a 01: Destroy Create (Part I) feat. Kemani Anderson





g 07: Destroy Create (Part II) feat. Kemani Anderson & Ellen Beth Abdi

ECHOLTD009: 12" EP 180g Gold / Blue marbled vinyl.

"Drums A Go-Go" wurde in der Blütezeit des Surf-Rocks veröffentlicht und enthält mitreißende Gitarren-Parts (man höre sich nur "Casbah!" an) - ganz zu schweigen von einigen der unauslöschlichsten Drum-Breaks - auf Platte. Alles analog geschnitten! Während der Titelsong im Oktober '65 Platz 118 der Billboard Hot 100 erreichte, waren Nelsons Instrumental-Versionen von "Whittier Blvd. (von Thee Midnighters), "I Like It Like That" (von Pete Rodriguez), "Wooly Bully" (von Sam the Sham & the Pharaohs) und "(I Can't Get No) Satisfaction" (von den Rolling Stones) sind ebenso lebendig und enthalten sowohl fuzzige Gitarren als auch Rock 'n' Roll-Saxophon, eine Kombination, die nicht nur zeigt, in welche Richtung sich die Musik entwickelte, sondern auch den prä-psychedelischen Stil der populären Teenie-Beat-Gruppen Mitte der 60er Jahre. Nelsons dynamisches, eingängiges Spiel erlaubt es dem Schlagzeug, sich auf einzigartige Weise mit der Melodie zu verflechten und dem Album einen vollen, vollständigen Klang zu verleihen - und das, obwohl es keinen Gesang gibt!

"Drums A Go-Go" wurde in der Blütezeit des Surf-Rocks veröffentlicht und enthält mitreißende Gitarren-Parts (man höre sich nur "Casbah!" an) - ganz zu schweigen von einigen der unauslöschlichsten Drum-Breaks - auf Platte. Alles analog geschnitten! Während der Titelsong im Oktober '65 Platz 118 der Billboard Hot 100 erreichte, waren Nelsons Instrumental-Versionen von "Whittier Blvd. (von Thee Midnighters), "I Like It Like That" (von Pete Rodriguez), "Wooly Bully" (von Sam the Sham & the Pharaohs) und "(I Can't Get No) Satisfaction" (von den Rolling Stones) sind ebenso lebendig und enthalten sowohl fuzzige Gitarren als auch Rock 'n' Roll-Saxophon, eine Kombination, die nicht nur zeigt, in welche Richtung sich die Musik entwickelte, sondern auch den prä-psychedelischen Stil der populären Teenie-Beat-Gruppen Mitte der 60er Jahre. Nelsons dynamisches, eingängiges Spiel erlaubt es dem Schlagzeug, sich auf einzigartige Weise mit der Melodie zu verflechten und dem Album einen vollen, vollständigen Klang zu verleihen - und das, obwohl es keinen Gesang gibt!

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

Delasi, the Koforidua-based producer, singer and rapper has released his new single ‘Amplifier’ featuring Nii Noi Nortey.

Prophetic, spiritual and frenetic, ‘Amplifier’ is Delasi’s testimony in musical form. A manifestation of Delasi emerging triumphant after many years in limbo as he searched for a long-awaited breakthrough in the music industry.

Produced by Delasi himself alongside Morgan Greenstreet, ‘Amplifier’ is underpinned by the texture of coastal rhythms indigenous to Accra and tightly ornamented with bustling drum breaks, electronic synth lines and jazz sensibilities.

Veteran Ghanaian multi-instrumentalist and sound designer Nii Noi Nortey appears on the track to deliver an explosive and rhythmically intense saxophone performance throughout as it tastefully builds to an emphatic crescendo.

Self-described as a prayer, the track’s maximalist and percussive instrumentation is cleverly juxtaposed with minimal lyrics where Delasi’s faint vocal repeats a series of repeated phrases like evoking the mood and semblance of a meditative chant and religious experience. Harkening to the work of afrofuturistic jazz musicians like Sun Ra and Pharaoh Sanders.

Speaking on the track’s meaning, Delasi said: “‘Amplifier’ is my prayer and like with other songs of mine it can scare me because I write things and then it’ll manifest in exact detail. The song is basically outlining how hard I’ve worked and how I need an amplifier to have my desires fulfilled. It's like a mantra and that’s why it's not so lyrical”.

‘Amplifier’ marks Delasi’s first release as a lead artist since his 2015 self-released project ‘#thoughtjourney’ which garnered support and praise from Rolling Stone, BBC6 Music, Worldwide FM, KCRW, Afropop Worldwide, Deutschlandfunk Kultur, NRK and legendary French DJ/Producer Laurent Garnier. Additionally parlaying into touring and festival gigs across Nairobi, Berlin, Morocco, Denmark and Sweden.

Delasi is an artist that has been quietly prolific for over a decade. Honing his musicianship exploring sonic possibilities with Ableton and Teenage Engineering. Eventually entrenching himself in the Ghanaian rap scene via collaborations with Hammer of The Last Two, Reggie Rockstone and Yaw P with whom he would release a joint project ‘Imperfections: The Break Up Vol 1’ in 2013.

He was musically raised on a diet heavily influenced by his father who exposed him to the sounds of Marvin Gaye, Bob Marley & The Wailers, Bobby McFerrin, Jim Reeves and Billy Ocean alongside the soundtracks for movies like Doctor Zhivago, The Sound of Music and La Bamba. Delasi’s own tastes would be heavily informed by linchpins of US Hip-Hop like Wu-Tang Clan, Nas, Onyx and M.O.P in addition to alternative R&B artists Frank Ocean and James Blake.

After many years of operating as a proudly independent and self-contained artist, Delasi has now partnered with Gilles Peterson’s Brownswood Recordings. One of the world’s leading indie labels, famed for their instrumental role in breaking the likes of KOKOROKO, Yussef Dayes, Swindle, Joe-Armon Jones, Shabaka And The Ancestors, Zara McFarlane and Ghostpoet.

With Delasi now being granted resources to give his music the grand and worthy footing, he is now on the cusp of the artistic breakthrough that was long out of reach. Speaking further on how the deal with Brownswood inspired the new single, Delasi said:

“The music I’ve created this go round is so strong that I can’t handle it all by myself. Though I had a lot of fun doing it all by myself with ‘#thoughtjourney’, this time around I needed it to be with a home who could properly amplify it.”

Standing In The Light, das viel geliebte dritte Album von Level 42, ist wieder als LP in
einer streng limitierten audiophilen Gold-Vinyl-Pressung erhältlich.
Level 42 - der Bassist und Sänger Mark King, der Keyboarder und Sänger Mike Lindup,
der Gitarrist Boon Gould, der Schlagzeuger und Texter Phil Gould und der Studiotüftler
Wally Badarou - waren 1983 angesehene Überlebende der Britfunk-Explosion der frühen
80er Jahre, hatten aber noch nicht den ganz großen Durchbruch geschafft. Live waren sie
eine unübersehbare Attraktion, aber ein echter kommerzieller Erfolg blieb ihnen verwehrt.
Polydor erkannte dies und schickte die Gruppe nach LA, um mit Larry Dunn und Verdine
White von Earth, Wind & Fire zu arbeiten und ihrem Sound eine zusätzliche Dimension zu
verleihen.
Es sollte jedoch kein EWF-Horn- und Mystikfest werden; Standing In The Light optimierte
und kommerzialisierte den Sound der Gruppe, ohne dabei ihre einzigartige britische
Interpretation von Jazz-Funk zu verlieren. Out Of Sight, Out Of Mind war die erste
Singleauskopplung des Albums und verpasste nur knapp die britischen Top 40; die
nächste Veröffentlichung bescherte der Gruppe jedoch ihren ersten Top-10-Hit und einen
Vorgeschmack auf den Erfolg, den sie in den kommenden Jahren genießen sollte. Living It
Up (The Sun Goes Down) war ihr erster Top-10-Hit im Vereinigten Königreich und ist ein
funkbasierter Knaller. Infolgedessen war Standing In The Light das erste Top-10-Album
von Level 42. Es enthält auch das intensive, politische I Want Eyes, das Lieblingsstück
von Schlagzeuger Phil Gould in Zusammenarbeit mit Mark King, sowie fünf weitere
Beispiele für den einzigartigen Groove der Gruppe

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.
With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.
The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.
Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

A1 - Synergy
A long-awaited release for seasoned fans of the label familiar with ASC's DJ sets since creating Spatial, Synergy has been requested for release many times and is finally here - and it hasn't aged a bit. A track which lifts you gradually through a true journey of escalating, dynamic atmospheric soundscapes with crisp detailed break patterns that ebb and flow to an intricate collage of synths, keys and vocal hits to an inquisitive melody. A
stunning piece which somehow has something new to offer each time you hear it.

A2 - Suspended Animation
Conjuring an ethereal feeling with grand atmospheric backdrops reminiscent of early Intense, Suspended Animation is a calming yet suspenseful track which slowly builds with expressive break patterns and minimal kickdrums as subtle basslines rumble below. Long echoing effects and melodies gently nudge the proceedings forward, ASC once again showcasing the diversity of his production toolset.

AA1 - Repetition
It's been a while since a pure two-step drum loop has had this much impact - make no mistake - the breaks of Repetition will bore their way into your brain like Pulp Fiction did in the mid 90's with a thumping kickdrum and stabbing snare tweaked to perfection. While the beats drive the track along, a collage of audio texture surrounds them with a signature female vocal sample closing out phrases filled with finely tuned synthwork.

AA2 - Pharaoh
Landing with immediate impact and building the mood with a subdued urgency, the Hot Pants breaks of Pharaoh surf the dunes of sound to an abundance of sheer atmosphere as ASC crafts a stunningly evocative track which is aptly titled, transporting the listener to mystical Egyptian sands, the synths and horns whispering like the echoes of of a bygone era demanding their timely reprise through the medium of Spatial.
Epic.

Words by Chris Hayes

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

Smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on side B in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Snap up the mid-century college party in a box that is PP006 — and hope your tables don’t get too scuffed up from people dancing on them. The fun that The Teacher Haters had in making these tracks is all here and available to you — whether you want to go on a nostalgic trip through a 60s coed party, or host your own shindig where dancing is mandatory. Get your hands on this disc before the regents show up.

Repress!

Drum & Bass veteran Zero T teams up with multi-instrumentalist duo Unitsouled to bring us a slice of 'Irish soul music for the 21st century' with their Baby Grand EP'. Due on The North Quarter on the 11th of May this exclusive project sees Zero T's trademark sound reach new heights through the addition of live instrumentation and exploration of a broader palette of genres. Additionally a host of talented vocalists are featured throughout the project - including fresh NQ signing Abnormal Sleepz. From start to finish the 'Baby Grand EP' effortlessly moves through Hip Hop, Neo Soul, Broken Beat and Drum & Bass adding another ambitious chapter to the eclectic North Quarter portfolio.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

For 1971’s Black Unity, Pharaoh Sanders added groove to foundation of spiritual and free jazz he had explored on his previous Impulse! albums. The result is a piercing and emotive 37-minute rhythm-driven title track exploration of African, Latin, aborigine and Native American sounds.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Leon Thomas war einer der maßgeblichen Jazzsänger der 1970er Jahre und seine Alben für Flying Dutchman sind allesamt Klassiker. Er war in der zweiten Hälfte des Jahrzehnts zusammen mit Lonnie Liston Smith ein wesentlicher Bestandteil der Gruppe des Saxophonisten Pharaoh Sanders und Co-Autor von 'The Creator Has A Master Plan' für das Album 'Karma'. Der Erfolg dieses Albums führte dazu, dass ihm ein Vertrag mit Bob Thieles Label Flying Dutchman angeboten wurde, wo er fünf Studioalben aufnahm. 'Full Circle' war sein letztes Album für das Label. Zu den Musikern, die ihn auf diesem Album unterstützen, gehören Bernard Purdie, Joe Farrell, Joe Beck, Jimmy Owens und Pee Wee Ellis. Diese Neuauflage als wertige 180Gr. LP (Black Vinyl) wurde von den hochwertigsten Transfers der Original-Masterbänder gemastert.

Ok here we go again boogie nuts!
The fourth volume of Full Beam's infamous "For Gees Only" series is finally upon us...

Another 8 nuggets from the depths of Pharaoh Brunson's pyramid suite presented in a super fresh screen printed gatefold sleeve...

You know the drill by now. One press - Vinyl Only - No digital - No tracklist - No sound clips - No problemo !

Strictly for radio and DJ use only.

Red Laser Corp.

Phi-Psonics is a meditative, deeply soulful immersive jazz group from
Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain
Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh
Collazo on drums. Their deeply soulful music draws on jazz and
classical influences together with Ford-Young’s own musical
experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, along the way they create something
uniquely their own, beautiful landscapes for your thoughts to roam
within.

Octava is their second album and like the Cradle before it’s emotional,
introspective, and unusual approach to spiritual jazz offers us a
beautiful space for uplifting contemplation and wields a quiet power to create a spiritually inspiring world of timeless, warm melodies and
instrumental exploration for the deep listener. Originally from
Washington DC area, Ford-Young moved to California in the early 90s
and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combined intense personal study with
collaborations, tours, and recordings with artists such as Tom Waits,
Beats Antique, and John Vanderslice. In 2010 he moved from the SanFrancisco Bay area to the Los Angeles hills and continued his
explorations and although Phi-Psonics music has been described as
spiritual jazz, or deep immersive listening music but this is music for
fans of Radiohead and The Invisible as well as fans of Alice Coltrane
and Pharaoh Sanders.

The album opens with Invocation as we embark on our journey. The
repeated melody at the end feels ancient but also contains an energy
that is driving forward. An Offering is a humble but beautiful tune full of texture and colour. We Walk in the Gardens of Our Ancestors shows clear eyed reverence for those who came before us as we walk through their gardens. Green Dreams is a tender, gentle love song to Seth’s wife.Where We've Been Is a group improvisation centered around the drums. Lunar Reflections is a romantic ode to nature that draws inspiration from where Seth lives a green oasis within the sprawling cityscapes of LA. Becoming draws on memories of the dark days of 2020 but this was a period that was also full of beauty and light and this song elevates and uplifts us. Finally New You offers hope of change

Phi-Psonics is a meditative, deeply soulful immersive jazz group from
Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain
Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh
Collazo on drums. Their deeply soulful music draws on jazz and
classical influences together with Ford-Young’s own musical
experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, along the way they create something
uniquely their own, beautiful landscapes for your thoughts to roam
within.

Octava is their second album and like the Cradle before it’s emotional,
introspective, and unusual approach to spiritual jazz offers us a
beautiful space for uplifting contemplation and wields a quiet power to create a spiritually inspiring world of timeless, warm melodies and
instrumental exploration for the deep listener. Originally from
Washington DC area, Ford-Young moved to California in the early 90s
and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combined intense personal study with
collaborations, tours, and recordings with artists such as Tom Waits,
Beats Antique, and John Vanderslice. In 2010 he moved from the SanFrancisco Bay area to the Los Angeles hills and continued his
explorations and although Phi-Psonics music has been described as
spiritual jazz, or deep immersive listening music but this is music for
fans of Radiohead and The Invisible as well as fans of Alice Coltrane
and Pharaoh Sanders.

The album opens with Invocation as we embark on our journey. The
repeated melody at the end feels ancient but also contains an energy
that is driving forward. An Offering is a humble but beautiful tune full of texture and colour. We Walk in the Gardens of Our Ancestors shows clear eyed reverence for those who came before us as we walk through their gardens. Green Dreams is a tender, gentle love song to Seth’s wife.Where We've Been Is a group improvisation centered around the drums. Lunar Reflections is a romantic ode to nature that draws inspiration from where Seth lives a green oasis within the sprawling cityscapes of LA. Becoming draws on memories of the dark days of 2020 but this was a period that was also full of beauty and light and this song elevates and uplifts us. Finally New You offers hope of change

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin’s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin’s solo output is best remembered for his two solo outings with the Black Jazz label- “The Skipper” & “The Skipper At Home”. Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin’s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz’s most influential heartbeats.

xa 7. Tall Black Guy (Pharaoh's Spirit) [feat. Bemyfiasco, Ozay Moore & Kyotey Grey] - My Freedom Travel

The live album From Wishes To Eternity offers a a glimpse into an early point in the long career of Finland's symphonic metal masters Nightwish when, three albums under their belts and already a household name in their native Finland, the world was just about to be laid before their feet. Recorded at Christmas in 2000 in Tampere, Finland in front of a packed house, Nightwish released this a year after the smash hit record Wishmaster. Unlike some CD pressings in circulation, this version contains the entire 80-minute uncut show. Never before available on vinyl, Lipposen Levy ja Kasetti presents this missing piece in the Nightwish puzzle on CD and gatefold double vinyl, remastered at Finnvox by Mika Jussila, who also mastered the original release in 2001.

repressed !

***Taken from Leaked Whatsapp messages between DJ Absolutely Shit and Il Bosco***

Yo cousin Bosco...how's ya raisin widge?

Nice one for that last lot of dough i'm starting to well buzz off all this music industry bollocks now you know...mad what you can do with a catchy DJ name and pure absolutely mega tunes wot are miles better than anyone elses init?

Anyway i've been diggin' me fuckin' 'ed off ant I recently and got some more well primo gear for yas here...done 8 this time - was thinking if i'm managing to sort me life out banging out EPs for yas - if I do and album or two i'll be mega wedged in no time deffo init.

Yeah i'm thinking fuck this i need to get out this rank shit-hole quicktime... spotted this sick 3 bed thatched cottage gaff in Cadishead the other day, well smart. Detached n everything G, so can deffo get a proper grow on in there piece of piss. Gran's doin me ed in n all here G, big style the old slapper. She keeps robbin' me cash!
Turn me back for 5 mins and she's fuckin chonged it all the little turd... fuckin fuming ta fuck g cant wait to do one from that shitty flat...and if she thinks she's keeping me dodgy sky box she suck me widge haha.

Anyway shout me soon init. fuck knows what to call this album g. ask Pharaoh to come up with a name for it the turd. i can't be arsed thinkin... Seen him the other day actually bumped into him and that Crispy Duck guy who does those sick comics. They was outside some posh coffee gaff in Ancoats with a few other chumps lobbing bricks at a pile of other bricks down near the canal drinking pink hooch the turds. Get em to do the artwork for it n all g. if they want paying or owt tell 'em to suck me widge haha.

Nice one

Roadrunner United war ein Projekt des berühmten
Hardrock-Labels Roadrunner Records, das 2005 zur Feier
des 25-jährigen Bestehens organisiert wurde und seinen
Höhepunkt in den "All-Star Sessions" fand, einem Album,
das für Chart-Platzierungen in Deutschland, den USA,
Großbritannien und weiteren Ländern sorgte. Vier
"Spielführer" (Joey Jordison von Slipknot, Robb
Flynn von Machine Head, Dino Cazares von Fear
Factory und Matthew K. Heafy von Trivium) wurden
auserkoren, sich mit 57 Artists aus 45 ehemaligen und
aktuellen Roadrunner-Bands einzufinden. Ein
Metal-Familientreffen der besonderen Art!
Ab dem 10. März 2023 sind sowohl das Original-Album
der "All-Star Sessions" als auch das Konzert selbst in
Vinyl wieder erhältlich.

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin’s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin’s solo output is best remembered for his two solo outings with the Black Jazz label- “The Skipper” & “The Skipper At Home”. Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin’s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz’s most influential heartbeats.

ATALAYA is new work by bassist Dezron Douglas, and it is alive. Alive in all the ways that jazz is at its best - as a pure and personal expression of Black Music filtered through time-honored traditions by a group of musicians who practice sonic coherence through musical unity. Followers of contemporary jazz might recognize Dezron for his bass work behind Pharaoh Sanders, Louis Hayes, or Ravi Coltrane. Steady International Anthem listeners might remember him from the New York side of Makaya McCraven"s Universal Beings. More recently we presented Force Majeure, his sublime duo record with harpist Brandee Younger which compiled the best of livestream performances from their Harlem apartment during the original covid lockdown. That album reflected the speed and feeling of the moment while somehow simultaneously distracting from the harsh reality of it. It also captured a very vulnerable, intimate, and real impression of Dezron on double bass, sharing his power and truth without abandon.

Terri Lyne Carrington is a three time Grammy Award winning contemporary virtuoso jazz drummer and composer. Known for her long association with Herbie Hancock, Carrington has worked with Dizzy Gillespie, Stan Getz, Clark Terry, Wayne Shorter, Lester Bowie, and Pharaoh Sanders. She has been outspoken in the political nature of her work, addressing racism, political protest, and gender discrimination throughout her work.

Dusky’s music has always been built on the pleasure principle, but JOY – as the title makes absolutely clear – takes that to new levels of purity and intensity.
Looking back to more innocent times and to rave music’s halcyon days, the duo of Alfie Granger-Howell and Nick Harriman have tapped into that special moment when raving was still a voyage into the unknown.

This project is a distillation of the spirit of people coming together in hard times, forgetting their troubles and celebrating life. All of the core elements here are familiar from the peak rave era and the birth of hardcore – the cascading pianos, the infectious bleep melodies, the Chicago and Detroit grooves, the rugged Belgian techno riffs, and the proto-jungle break beats – but retooled, rewired, and refreshed for this brave new world.

It’s both a natural development and noticeable evolution from the pair’s previous work. Natural, because these musical elements have always been apparent in Dusky’s sound, but a clear evolution in they way they are presented, with such an unreserved and joyous tone.

The result is a celebration - and expression - of the communal ecstasy of the dance floor experience. An expression of 18 months yearning to be back out there communing and celebrating. An expression of everything that dance music - and dance culture - is about at its very best.

JOY brings together all the finesse and subtlety that Dusky have honed while traversing the various corners of clubland over the past decade, all their understanding of fundamental dance floor dynamics, and channels it all to a single, unified purpose. At a time when we’ve all suffered, we’ve all struggled, and we’re all uncertain, we’ve never needed this sense of unity more. All the release we’ve so badly wanted is here: we all need JOY.
credits

Billed as 'controversial' in its press materials for its open spiritual message, this jazz inspired record was Prince’s first fully independent release, issued without any major label backing. One of its songs 'The Work, Pt. 1' was released by Prince as a free download on the file sharing service Napster - this move, along with direct to consumer stream and download options on the NPG Music Club, made Prince a digital music pioneer. This record is a favourite among Prince’s most fervent admirers due to its complex musical narrative, its use of live drums/full horn section and the striking album art by artist Cbabi Bayoc, which still hangs in the hallowed halls of Paisley Park today. The CD has long been out of print and the original vinyl pressing was incredibly limited.