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Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’. Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. Mixed by Chris Lord-Alge & mastered by Ten Jensen at Sterling Sound. Available on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including the full show (in 5.1 surround sound) as well as behind the scenes interviews. Also available as a Ltd 180g 4LP edition featuring individual printed disco-bags inside a slipcase.

Der legendäre Gitarrist Steve Hackett präsentiert sein brandneues audio-visuelles Live-Spektakel mit der Veröffentlichung von "Foxtrot at Fifty + Hackett Highlights: Live in Brighton". Gefilmt und live aufgenommen auf seiner 2022 UK-Tournee in der Küstenstadt Brighton, dokumentiert diese Veröffentlichung Steve und seine Band bei der Feier des 50-jährigen Jubiläums des beliebten Genesis-Albums "Foxtrot". Auf diesem Album sind Fan-Lieblinge wie "Watcher Of The Skies" und "Supper's Ready" zu hören. Die Show enthält auch ein Set mit Hackett-Solomaterial, darunter 'The Devil's Cathedral' von seinem letzten Studioalbum 'Surrender of Silence' und das kraftvolle 'Ace of Wands'. Gemischt von Chris Lord-Alge und gemastert von Ten Jensen bei Sterling Sound.Erhältlich auf Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, beide mit der kompletten Show (in 5.1 Surround Sound) sowie Interviews hinter den Kulissen. Auch erhältlich als limitierte 180g 4LP Edition mit individuell bedruckten Disco-Bags im Schuber.

No Other Voice And Artist Influenced And Basically Created The Female Fronted Symphonic Metal Genre As Much As Tarja. A Pioneer In Goth And Symphonic Metal, The Classically Trained Finn Rose To Fame With The Band Nightwish, Whose Face And Voice She Had Been For 9 Years. Tarja, Whose Vocal Range Goes As Far As Three Octaves, Started Her Solo Career After Stepping Out Of Nightwish In 2004.
Releasing Several Very Successful Solo Albums, Awarded Gold And Platinum In Various Countries, Such As Germany, Poland, Czech Republic Or Finland, Tarja Turunen Has Been Touring The World With Her New Band. The Most Successful Finnish Solo Artist Is One Of The Most Versatile And Passionate Musicians Originating From But Not Limited To The Heavy Music Scene: Her Pure Classical Work 'ave Maria - En Plein Air' Charted In The Classical Charts In Germany And Has Led To Sold Out Classical Concerts All Over Europe. Adored By Many Fans As Their 'goddess', The Finnish Soprano Has The Skill To Carry Her Fans Away Just By Her Presence - Probably More Than Any Other Female Artist In This Genre. When Classic Meets Rock And Heavy Metal, It Inevitably Leads To Tarja

Filmed during Tarja's world tour 'The Shadow Shows', during which the influential heavy rock singer circled the world 7 ½ times with over 300.000 km travelled and played over 200 shows in 40 countries in front of 1 million people, 'Act II' consists of the singer's very intimate 75 minute set filmed and recorded live at the Metropolis Studio in London, UK and the breathtaking live performance of one of her shows in Milan, Italy, and previously unreleased interviews and photo galleries. The theatrical rock adventure 'Act II' combines two incredible, yet slightly different live performances on video: The first chapter, 'Metropolis Alive', has been filmed two months prior to the release of Tarja's 2016 success 'The Shadow Self'. 20 winners from all over Europe were lucky to witness Tarja's intimate, yet rocking 75 minute set at renowned Metropolis Studios in London, UK where the singer performed songs from her then unreleased album - for the first time in front of an audience. 'Act II's' second chapter has been recorded on November 29th, 2016 at the magnificent Teatro della Luna Allago in Milan, Italy and includes numerous hits from all four Tarja albums such as 'Innocence', 'Die Alive', 'Until My Last Breath' as well as an incredible cover of Muse's classic 'Supremacy'. That night's set list also enchants the soprano's
long-time fans with a medley consisting of the distinctive Nightwish evergreens 'Ever Dream', 'Slaying The Dreamer' and 'The Riddler'. All topped off with a remarkable acoustic set which presents Tarja classics in a brand new way. Even though the shows deliberately differ in look, sound, approach to the music and adrenalin, both have one thing in common: from the very first to the very last tune, the state of the art production displays Tarja's energetic performance and her graceful, charming presence.
'Act II' is going to be released as 2CD digipak, 3LP Gatefold (180g, black), DVD, Blu-ray, Limited Mediabook 2CD+2BD (incl. two full live shows filmed at Hellfest in France and Woodstock Festival in Poland as bonus) and Digital.
'ACT I', Tarja's first ever live release, charted Top 10 all over Europe as well as almost all over the world, with a sensational #5 in Germany's General Charts. The video version even remained for over two months at the peak of the Finnish music video charts.

Die 4x GRAMMY-nominierte Sängerin, Songwriterin, Dichterin und Aktivistin Allison Russell hat ihr neues Album ”The Returner” angekündigt. Das Album wird am 8. September 2023 über Fantasy Records veröffentlicht . ”The Returner” wurde von Allison zusammen mit Dim Star (ihrem Partner JT Nero und Drew Lindsay) geschrieben und co-produziert und wurde in der Woche der Sonnenwende im Dezember 2022 in den Henson Recording Studios in Los Angeles, CA aufgenommen. Mit dabei ist Russells ”Rainbow Coalition”-Band, die ausschließlich aus weiblichen Musikern besteht, sowie spezielle Gastauftritte der legendären Wendy & Lisa, Brandi Carlile, Brandy Clark und Hozier.

”Mein Ziel mit The Returner ist - klanglich, poetisch und spirituell - eine radikale Rückgewinnung der Gegenwart, eine Echtzeit-Vereinigung von Körper, Geist und Seele. Dieses Album ist eine viel tiefere Artikulation von Rhythmus, Groove und Synkopierung. Groove, der das Selbst zurück in den Körper bringt, Groove, der sinnliche und sexuelle Handlungsfähigkeit und Entfaltung feiert, Groove als dringender Aufruf zum Handeln und zum politischen Aktivismus.

Mit einem Wort, es ist funkiger. Aber wie in der Geschichte von allem, was funky ist, geht es nie nur um eine Party. Es ist ein Multiversum von Energien, das die Feier und den Kampfschrei miteinander verbindet.
Denn während die Umarmung der Gegenwart eine Feier ist, ist sie gleichzeitig ein bedingungsloser Sprung in die Schlacht - kulturell, politisch, ökologisch.”

She has made a fresh name for herself that extends beyond her band's legacy, establishing herself as a singular force in her own right. Nowhere is this more readily apparent than on Realms, Wilson's spirited sophomore studio album and her most ambitious effort to date. Once again working with Suny Lyons (with Sterling Campbell contributing drums and Maria Kindt on strings), Wilson invites her audience on an immersive, enchanting ten-track journey that peels back the layers of our common humanity. Realms demands our undivided attention as Wilson takes us on a kaleidoscopic journey through our own minds and souls.

Through a series of colorful, dramatic outpourings and dynamic, finessed upheavals, it's a carefully crafted record proving beyond a shadow of a doubt that Cindy Wilson continues to have her fingers on the pulse of modern music. Pop in style and indie at heart, Realms is the next new wave of Wilson's already storied legacy.

Dom of Dom & Roland, (Roland being a machine), has been a drum and bass visionary since the mid 90’s. He remains the only solo artist to have had award-winning albums on both Metalheadz and Moving Shadow. Dom released his ninth album on Overshadow earlier this year. His collaborations range far and wide and have included the likes of Optical, Amon Tobin, and more recently Noisia. Internationally acclaimed for both his records and performance, his epic brand of music has attracted other pioneers along the way, Art of Noise, David Bowie, Laurent Garnier, Goldie, and Clyde Stubblefield, are just a few of the many loyal fans he has collected over the last 30 years. He still travels the world, is not slowing down, and continues to evolve his music to this day.

“Individual” is his new label. Its purpose, in his own words, is “to celebrate the uniqueness and character of individuals or artists, who stand apart from others of the same”

Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Hot Creations welcomes Viot and Vitor Vinter as they make their label debut with ‘FMF’, featuring a remix from Bruno Furlan.

Brazilian-born pairing Viot and Vitor Vinter have both emerged as rising names to watch in the scene, capturing the attention of industry heavyweights like Joseph Capriati, Michael Bibi, Marco Carola and many more. Previously collaborating on SOSA’s imprint COCO, they now bring their latest offering ‘FMF’ to Jamie Jones and Lee Foss’ esteemed label Hot Creations, marking another milestone in their careers - accompanied by fellow Brazillian talent Bruno Furlan who returns to the label on remix duties.

With both artists favouring a freaky atmosphere, ‘FMF’ unveils deep, sultry vocals nestled over the top of an alluring acid bassline that drives the track forward. Bruno Furlan’s twist to the track injects a surge of high-octane energy with tumbling percussion and shadowy stabs, guaranteed to whip the crowd into a frenzy.

In Rumi's poem A Great Wagon he writes of a place of total acceptance. "Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there," It is a boundless, liminal space where we can release the judgments we make and carry of ourselves, and the comparisons to others. When we think of this field, there is a sense of tranquility that only comes when we are undisturbed by the shadow self and see existence as neither bright nor dim, white nor black. But as lead singer Greg Bertens explains, arriving there is a whole different story. "This is a poem I've returned to over the years, and I love the idea of this place, but getting there is life's journey." Bertens adds "I think the longing for and elusiveness of this field is a recurring theme in our music." Field is enveloped by themes of regret, disconnection and frustration but with the space to understand that these feelings are a natural part of the struggle between reconciling the inner and outer self. The Los Angeles/San Francisco-based group have been indie shoegaze stalwarts since their formation in 2001. After two decades and a handful of line-up changes, their extensive discography presents a dynamically textural, lush psychedelic rock that has featured guest appearances by members of Pavement, My Bloody Valentine, and Snow Patrol, among others. 2021's LP We Weren't Here was hailed for its dense instrumental blanket, where unrelenting hi-hats and heavy kicks exist alongside dreamy drone guitar. This propulsive nature permeates Field, as members Bertens, Noël Brydebell (vocals), Nyles Lannon (guitar), Jason Ruck (synths), Justin LaBo (bass), and Adam Wade (drums) produce a kaleidoscopic sonic landscape. Patient, sprawling instrumentation builds a foundation in which Bertens' themes of endurance, perseverance and clarity can bloom with a considered poise. As a lyricist who writes in response to the instrumental arrangements, rather than a focus on a specific theme or person, Field is a testament to Film School's ability to create in the moment, and to showcase the magic that stems from when we are truly present. Album opener "Tape Rewind" is a swirling rush of color, as sustained guitars, darkened bass lines and urgent, percussive swells dance alongside each other. "This is the newest of all the songs on the record and feels like a new level of heaviness for the band," Bertens explains, noting that its lyrical context of struggling to move past trauma adds to its cathartic essence. Field is bookended by heavier themes, with closer "All I'll Ever Be" taking on the perspective of those we hurt when we embrace our own toxic behaviors. Originally written to be a simple acoustic guitar and vocals song soon turned into an ethereal, effects-laden composition, with Noël's hazy lead vocals ushering in a new-found acceptance. "It's all I want / To be released / And all I can be," she laments, cementing Field's message of accepting ourselves in whatever form we find ourselves in. "Defending Ruins" is a murky relentless underworld, inspired by the freewheeling tones of Texas-based band Holy Wave. "Defending the ruins, defending remains," Bertens spits, among a richly-layered outro. "Don't You Ever" confirms Film School's ability to merge both delicate and growling instrumentation throughout the album, with the song's softly spoken section hovering above sparkling guitar. "Is This A Hotel" bends towards the electronic aspects of the band, with wailing synths accompanying a story of bitter desire. With over two decades in the industry, Field cements Film School as a distinct, dominant force in the shoegaze scene. Soaked in an emotionally open, imaginative atmosphere, the album is both singular and expansive, and leaves the door open for a constantly evolving interpretation. Film School have never confined themselves to the rigidity of specifics, and it's on Field that they urge us to look beyond the binary of certainty, and to take a second look

Boy Harsher, Portishead, Thom Yorke, Radiohead, Beak>, ERAAS, SUUNS. Over the past seven years, Public Memory's distinctive use of analog synthesizers, electronic beats mixed with organic percussion, lo-fi sound design, and gritty ambience has created a singularly eerie and shadowy world. The first seconds of Public Memory's new record, Elegiac Beat, thrust us immediately into that world. We are in media res, with a feeling of sudden movement from a sensible point A to B. Given some time however, we realize that there is something askew–a bit of brightness here, some shadows pushed aside, some jazz and funk amongst the dub and Krautrock. This is an unfamiliar, ambiguous mood that pushes Public Memory towards new ground. We still drift past the clouded lights and hollowed out buildings of previous albums, but with an occasional bounce in our step now, a bit of golden haze around the edges. First single "Savage Grin" cements this clearly. The track has a jazzy, trip-hop flavor, albeit filtered through Public Memory's narcotic, hazy lens. We could be in a hotel lounge in the alps somewhere on holiday, or out of time in a majestic, sparkling ballroom. But we still have the feeling of being haunted, or perhaps even hunted in some way. This feeling intensifies and comes to a head towards the ever-darkening end of the track, leading directly into "Afterimage", in which someone almost imperceptibly sings "I hear them coming" in a twisted, auto-tuned flail. Second single "7 Floor" begins with flanged drums and damaged synthesizer stabs, evoking a kind of apparition floating towards us in the mist. As the track moves on there is, similarly to "Savage Grin", a contrast in feeling between a cold exterior roaming and an interior, warmer, human place. This time however, we move from the colder to the warmer as the synths from the track's beginning make way for a Rhodes-style organ and backing string synth, infusing an unexpected sense of peace. But like "Savage Grin", the track moves to its end through an in-between place beyond the haze. Faded and distant synthesizers meld with voices–human, or perhaps otherwise–that beckon us, or perhaps warn us. We can't be sure which. Third single "Far End Of The Courtyard" brings us closest to classic Public Memory territory with hip-hop beats, chopped and screwed samples, lo-fi ambience, and ghostly electric pianos complementing the vocals. There is darkness, perhaps more here than in the previous two singles, but with a crucial moment of uplifting lightness so subtle it may be missed upon first listen. As an inverse to both "Savage Grin" and "7 Floor" we end with brightness, the jazzier side of the record pushed to the forefront as the track fades away on that golden haze. In the end though, the haze may be just that: a vapor, a mist, a slight dusting of some other world on top of the degraded one Public Memory so effectively portrays. Elegiac Beat is between two places, and as it straddles the line between the two, we are uncertain if the light it brings shines directly from the sun, or if it is dimly reflected through that majestic ballroom world. For fans of 1990s Bristol trip hop, coldwave, and Thom Yorke's The Eraser

Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

Kansas City born Hammond B3 organ dynamo Big John Patton made a stellar run of soul jazz albums for Blue Note thru the 1960s but Let ‘Em Roll stands among the finest with Patton adding vibraphonist Bobby Hutcherson to a standard organ trio line-up with guitarist Grant Green and drummer Otis Finch.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over to the rest of the world. 'Under Heavy Manners'' was an essential purchase as well as a defining statement on the sombre mood of the times in the year that two sevens clash and forty years after its original release, the raw reality of 'Under Heavy Manners' continues to hit home.

FNUSSJEN is the brainchild of drummer / percussionist Nicolas Chkifi. In this band he brought together some extraordinary musicians in an unusual lineup: harpist Ann Eysermans, violinist Ananta Roosens, pianist Christian Mendoza and himself on drums. In their music, they drop the tempo, forcing the listener to immerse themselves completely in their delicate blend of contemporary classical, chamber music and jazz.

Timechild ist zurück mit ihrem lang erwarteten zweiten Album "Blossom & Plague", das am 1. September 2023 weltweit über Mighty Music veröffentlicht wird. Die Vision dieses Albums ist es, zu zeigen, wie Heavy Rock auch im Jahr 2023 noch herausfordern und überraschen kann.

Der schwere und dynamische Sound und die Texte der dänischen Band haben sich auf diesem Album in eine progressivere und dunklere Richtung entwickelt. Obwohl das Fundament des Sounds der Band eindeutig von den Giganten der Vergangenheit gelegt wurde, wird die Inspiration sowohl durch die Zeit als auch durch die Genres gezogen. Genau diese Möglichkeit, in die vergangenen Jahrzehnte der Musikgeschichte einzutauchen und dadurch ihren eigenen Sound zu definieren, war ein wichtiger Teil des Songwriting- und Aufnahmeprozesses.

Das Artwork wurde von Travis Smith (Opeth, Megadeth, Katatonia, Avenged Sevenfold) entwickelt, der Timechild dabei half, die perfekte visuelle Darstellung der Platte zu erreichen.

Produziert, gemischt und gemastert wurde das Album erneut von Soren Andersen (Glenn Hughes, Phil Campbell, Jesper Binzer). Mit seiner großen Erfahrung in diesem Genre, sowohl als Produzent als auch als Musiker, war Soren eine natürliche Wahl, als es darum ging, die neuen Visionen der Band zum Leben zu erwecken. Das Ergebnis sind acht starke und einzigartige Tracks, die die dynamische Bandbreite und die künstlerischen Visionen der Band aufzeigen.

Svitlana Okhrimenko (artist name: Svitlana Nianio) is a Ukrainian artist, musician, and signer. She is one of the most prominent representatives of the independent music scene of Kyiv in the late 1980s — early 90s. She has repeatedly recorded and performed in collaboration with other musicians and bands, such as Oleksandr Yurchenko, Sugar White Death (Cukor Bila Smert’), Ivanov Down, GeeNerve & Taran, and Blemish. Svitlana still performs and publishes new recordings today.

“Transilvania Smile” is one of the first solo works recorded in 1994. During this time, Svitlana repeatedly visited Germany, where she had the experience of playing in parks and on the streets, gathering contacts of the local art scene. Her cooperation with the international choreographic group Pentamonia, based in Cologne and consisting of several girls who performed in theaters, took part in various performances, and were engaged in music. They met in the 1990s during joint performances with "Sugar-White Death." After that, they corresponded, and the idea of doing something together arose. Svitlana attended several of their performances, which inspired her to write music for a new project, and the band members helped to realize their creative ideas. Later, they started rehearsing together.

The name “Transilvania Smile” was invented by the project participants, and it symbolized the mold on the mirror and the reflection of a smiling vampire. However, shortly before the premiere, they changed it to “Firefox”, as the participants actively used flashlights and the play of light and shadows in the scenography.

The premiere occurred in the local Urania theater, previously a gallery. Isabel Bartensein directed the choreography, and Svitlana played, sang, and improvised. She said it was an excellent experience for her and the band. Besides Cologne, they also performed in Aachen.

Later, Michael Springer offered Svitlana to record this material in his "Phantom" studio. They had already worked together and recorded music for their project (Svitlana Okhrimenko / Phanton). Michael was also interested in the Ukrainian independent scene and participated in the creation of several compilations that featured bands from Kyiv and Kharkiv. Svetlana played the piano and harmonium in the studio and also sang. After the recording, the material was never released in its entirety. Two compositions appeared on the cassette compilation “Shovaisia” (Hide) in 1995, some episodes were re-recorded for the “Kytytsi” album in 1999, but for a long time, the full version of this recording remained practically unknown to listeners and was kept in Svitlana's and Michael’s archives.

This album is one of the most personal and insightful works of Svitlana Nianio from the 90s, which you can now get to know in its original form and sound.

Mysteries Of The World is the stunning final studio album from legendary Philly supergroup MFSB. Expertly co-written and produced with the mighty Dexter Wansel, it features the untouchable, sparkling masterpiece "Mysteries Of The World". The whole album is truly exquisite; a stylish, classy collection of pure Philly soul and orchestral jazz-funk.

MFSB, an acronym for Mother, Father, Sister, Brother, was formed by producers Gamble & Huff of Philadelphia International Records. The band's roots can be traced back to the house band at the legendary Sigma Sound Studios, where they played on numerous hit records by artists like The O'Jays, Harold Melvin & The Blue Notes and The Stylistics. Mysteries Of The World comprises slick jazz-funk grooves, mostly penned by Wansel, who produced a fair chunk of the album in a similar style to his space-funk records. MFSB's smooth sound is retained but it receives a fresh, elegant and jazzy upgrade. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings.

Swaggering, well-timed horn blasts, sweeping strings and a percolating, hard thumping slap-bassline combine to devastating effect on amazing opener "Manhattan Skyline". It's a sexy mid-tempo instrumental which sets us up nicely for what follows. Essays could be written analysing the perfection of title track. Arguably the finest jazz-funk instrumental ever made, it's absolutely magnificent. Featuring musicianship of the highest calibre, the band play with their trademark tight discipline, cooking up a syncopating rhythm with an array of exploratory keyboard riffs wrapped around a punchy bassline sent from heaven. It sounds like house music, it's that ahead of its time. The string intro is sumptuous, hypnotic and divine and that's all before the beat hits. The track fuses classical, jazz and funk into a musical journey that you never want to end. Absolutely flawless, it's a dramatic disco dancefloor killer.

Says Dexter Wansel himself: "You know, of all the songs I wrote/produced/arranged for MFSB, this is for me the most different. I think it's an experiment in rhythmic, soft sonic synth and live string and harp combinations. I composed it in an effort to blend a funky groove, along with synthesis, and orchestral sounds. There are 3 synthesizers: Oberheim 4 voice, Polymoog, and of course Arp 2600v. And, as I remember, I recorded the track with the rhythm section, string, harp and flute players first. Then I added synthesis."

The profound elegance remains in abundance on the slinky, harp-laced "Tell Me Why"; Carla Benson's beautiful voice truly shines on this sophisticated cut. The side closes out in dramatic style with the string-drenched "Metamorphosis". It's a staccato, Blaxploitation groove workout featuring wah-wah guitar, creeping basslines, rich horn solos and soulful vocals drifting in and out of the mix. The bouncy, irrepressible "Fortune Teller" opens the B side in the bass-heavy orchestral funk style before the beautiful "Old San Juan" glides in, a Balearic-adjacent track with intricate arrangements, building its mellow soul groove around an atypical flamenco guitar hook. Melancholy, guitar-led instrumental "Thank You Miss Scott" is a real highlight, with gorgeous flute, string and percussive elements whilst closer "In the Shadow" works an otherworldly synth line into its bossa nova groove.

An essential record for fans of Philly soul and groovy jazz-funk, Mysteries Of The World was mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios. The stunning artwork, the work of renowned illustrator Robert Giusti, was restored at Be With HQ to round out this beautiful reissue.

2024 BLACK VINYL REPRESS.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.