Cerca:sam u l

Morgan Harper-Jones surft gerade auf einer kleinen Erfolgswelle. Erst Ende September erschien der Netflix #1 Hit “Love At First Sight”, bei dem Morgans Musik eine gewichtige Rolle spielt und sie sogleich in die Top10 der globalen Shazam Charts katapultierte. Nun kündigt die Singer-Songwriterin aus Rochdale (England) ihr Debütalbum über Play It Again Sam an: “Up To The Glass” erscheint am 12. April als Coloured Eco Vinyl. Ihr Debütalbum ist eine zarte Erkundung der Selbstfindung in den Zwanzigern vor dem Hintergrund von Liebe, Selbstakzeptanz und Verlust. Es dokumentiert diese allgemein prägenden Momente des jungen Erwachsenseins durch das Prisma von Morgans eigener Perspektive und erforscht zutiefst persönliche Themen wie das Ableben ihrer Großeltern, das ängstliche Nachdenken über jeden kleinen Fehler und die Sehnsucht nach einer Liebe, die unerwidert bleiben wird.

Available again on vinyl, this quintessential collector’s edition includes Sam Cooke’s sensational album, Twistin’ the Night Away, originally issued by the RCA Victor label in 1962. It was Cooke’s second effort following his 1957 debut LP, and remains one of the singer’s most accessible records despite the fact that the material consists primarily of “Twist” numbers chosen by the producers to cash in on that craze. Cooke was shoehorned into doing numbers like “Camptown Twist”, “Twistin’ in the Kitchen With Dinah”, and “Twistin’ in the Old Town”, as well as his version of Hank Ballard's “The Twist”.

He is at his most soulful, exciting, and passionate, on the popular title track “Twistin’ the Night Away”; the bluesy “Somebody Have Mercy”; the romantic lament “Somebody’s Gonna Miss Me”; the ebullient “Sugar Dumpling”; the achingly beautiful “A Whole Lot of Woman”; the soaring “Soothe Me” (with Lou Rawls); and the slow dance number “Movin’ and Groovin’”. In 2001, music critic Bruce Eder declared, “Twisting the Night Away is not only one of the great dance albums of its period, but a brilliant soul album as well, which is why it holds up 40 years later.”

Das vierte Album des amerikanischen Singer-Songwriters und Produzenten Sam Evian erscheint im Frühjahr. Zusammen mit seinen engsten Freunden
und Kollaborateuren (darunter Liam Kazar, Sean Mullins, El Kempner von Palehound und Adrianne Lenker von Big Thief) wurde das Album in den
frühen Wintermonaten des Jahres 2023 über einen Zeitraum von 10 Tagen in seinem idyllischen Flying Cloud Recording Studio in den Catskills
Mountains live aufgenommen.
Das Ergebnis ist Evians bisher bestes Album: eine kathartische Rockplatte, die Power-Pop, schillernde Gitarren, raue Psychedelik und Sams
mittlerweile gefragte Grooves miteinander verbindet. Die Musik ist sowohl frisch als auch vertraut, klanglich inspiriert von seiner Vorliebe für die
Produktion der frühen 70er Jahre und kreativ angetrieben von dem freigeistigen Prozess, der in der Beatles-Dokumentation Get Back dargestellt wird,
sowie von seinem Drang, loszulassen.

Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

Róisín Murphy's first album in 8 years, 'Hairless Toys' is a career defining tour de force.
Sonically adventurous with peerless production from long time collaborator Eddie Stevens, 'Hairless Toys' embraces a broad palette of genres yet is consistently engaging and thrilling throughout.

Sam Shure drops the Regency EP on December 14th, a DJ favorite embraced by Mind Against. The title track, "Regency," pulsates with relentless beats, while "Heir of Snare" explores rhythmic depths. "Magnus" climaxes with melody and cutting-edge sound design. Shure's EP resonates with innovation and emotion, an electrifying journey for the dancefloor.

WRWTFWW Records is happy to announce the first-ever physical release of Louisiana-based composer and producer Jammin’ Sam Miller’s full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip.

Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration / action-adventure / sci-fi / alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game’s protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes.

Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience."

Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

- 'Take Her Up To Monto' is the follow up to Ro´isi´n's critically acclaimed Mercury Prize nominated album 'Hairless Toys' and is billed as her most daring and creative yet.
- Never an artist to stand still, 'Monto' features everything Murphy has always done but seen afresh, boasting disco fancy, dark cabaret, the sonorities of classic house and electronica and the joy and heartbreak of pure pop drama resulting in her most magnificent song structures so far.
- The follow on from Roisin's Mercury Prize nominated 'Hairless Toys' album last year, Ro´isi´n is at her most creative peak yet.
- Released on embossed CD / double LP with digital download .

Die Crystal Fighters melden sich mit ihrem fünften Album „LIGHT+“ zurück! Das Konzept hinter „LIGHT+“ war einfach: Eine Neu-Definition der Crystal Fighters, indem sie zu ihren Grundwerten zurückkehren. Daher ist ihr neues Album voller Ideen – von Rave-Workouts bis hin zu tropischem Pop, von Anklängen an kolumbianischen Cumbia bis hin zu köstlichen Popmelodien. „Mehr Licht. Mehr Positivität. Mehr Klarheit. Wir alle brauchen mehr Hoffnung in unserem Leben.“ Crystal Fighters sind wie ein Lichtstrahl in der Dunkelheit – bald geht die Sonne auf und die Party kann beginnen. Passend dazu erscheint das Album auf „Glow In The Dark“ Vinyl und als CD!

Repress!

NX Records is a collaboration between Matthew Herbert's Accidental Records and the Department of Music at Goldsmiths, University of London.

In May 2013, the label launched with an introductory mixtape and live performances as part of the Puregold Festival launch at the Southbank Centre. NX Records has continued to release new, critically acclaimed music, host numerous events and run an annual pop up record shop.

The label's mission statement is to create a new model for the music industry, connecting exciting talent from the renowned creative hub of Goldsmiths - and the wider community of South East London - with the ever-experimental Accidental Records.

Our aim is to build connections between emerging artists, education, the industry and audiences. NX is a professional label that works alongside, not in opposition with, DIY artists.

The first in our series of experimental split 12"s focuses on instrumental electronic music.

Goldsmiths student and modular wizard Sam Hostettler evokes a daydream meeting between Vangelis and Burial, with his impossibly lush synthscapes shot through with dubbed out percussion. Meanwhile, La Leif's blend of crunchy, electroacoustic techno and outernational field recordings should hit the spot for fans of Karen Gwyer or Shelley Prior.

NX12X is out on Feb 1, with a launch party at The Glove That Fits on Feb 14. Come grab a copy of the vinyl, and have a dance...

Stickly Limited Edition 3000 copies.
Re-mastered from the original stereo master tapes.
Cut by Kevin Gray at Cohearent Mastering.
180g vinyl LP pressed in Marciac, France by Garcia & Co.
Deluxe flipback album jacket.
Artwork by Jean-Louis Duralek.
Double insert using an original photo by Thierry Trombert.
Each record has been visually checked to prevent defects.

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111

Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.

In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.

In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.

This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!