Sechs Jahre nach ihrem letzten Album 'Enter The Kingdom" meldet sich die US-Band endlich mit neuem Studioalbum 'On The Northline'zurück!
Die aus Metro Detroit, Michigan kommende Band Frontier Ruckus veröffentlicht mit 'On The Northline' ihr lange überfälliges neues Studioalbum", auf dem die Band lässig Americana, Rock und orchestralen Folk-Pop fusioniert. Matthew Milia, David Jones und Zachary Nichols begeistern mit ihrer Spielfreude und sozial-kritischen Lyrics auf ganzer Länge. Die Jahre nach dem fünften Album der Gruppe, dem opulenten 'Enter the Kingdom' von 2017, waren große Jahre für die Band. Ihr mehr als zehnjähriges ununterbrochenes Touren wurde dann allerdings durch die Pandemie beendet, die jeden zu Beginn des Jahres 2020 betraf, aber während sich diese Surrealität abspielte, durchlief Milia auch eine separate Zeitlinie, auf der er wirklich die Liebe fand, heiratete und zu gegebener Zeit Vater wurde. Fans von Elliott Smith bis hin zu Sufjan Stevens sollten die Band Frontier Ruckus nicht verpassen!
United Kingdom-based Dirty Water Records has signed the California-based rock and roll / Power Pop outfit The Tearaways to a 5-year deal. The label has released the Ed Stasium-produced (Ramones, Talking Heads, Smithereens) digital version of their new record called “And For Our Next Trick.” The band features the dual lead singers of bassist John “Fin” Finseth and rhythm guitarist Greg Brallier, lead guitar David Hekhouse and Rock & Roll Hall of Fame drummer Clem Burke (Blondie). Also, from Tom Petty & The Heartbreakers, Benmont Tench played keyboards and Steven McCarthy (Jayhawks, The Long Ryders) added pedal steel guitar. The new record was recorded at legendary Village Recorders in Los Angeles and mastered at Sterling Sound by Greg Calbi. The first single being released to radio was “Charlie, Keith and Ringo,” along with the the award-winning video (Raindance Festival directed by Stephen David Brooks (“Flytrap”). The spring single is called “Saturday Everyday” and is being serviced to radio stations and other outlets right now. Label chief Paul Manchester: “We are thrilled to have assembled an all-star team of distributor Cargo Records UK, Wipe Out Music Publishing, Seán Crossey from the UK promotion firm High Violet PR & Plugging, and US publicity specialist Lou Mansdorf to help launch this project.“
Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.
The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.
In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.
The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)
Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.
The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.
In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.
The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)
Mastered & Cut by Sean Magee at Abbey Road Studios, London
OVERVIEW: Stylotone in association with The Bernard Herrmann Estate, The Hitchcock Trust and Universal Picturesis proud to announce the World Premiere Release of...Marnie. Composed and Conducted by Bernard Herrmann (Vertigo, Psycho, Taxi Driver)
A 4-Track 7” 45RPM Vinyl EP featuring music from the Original Motion Picture Soundtrack to Alfred Hitchcock’s 1964 Production.
“No composer contributed more to film than Bernard Herrmann, who in over fifty scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese.”Steven C. Smith, author of ‘A Heart at Fire’s Center: The Life and Music of Bernard Herrmann’
Provocative percussion from the jazz trio Zen Widow!
Recorded live to 2-track analogue tape at Capitol Studios (CAP A)
Produced by Tone Poet's Joe Harley, recorded by Mike Ross
100% analogue mastering* by Kevin Gray at Cohearent Audio
Pressed on 180-gram ultra-quiet vinyl at RTI
Deluxe Old Style Tip-On single pocket gatefold jacket by Stoughton Printing
*Track 8 finished from high-resolution digital for vocal track
Intervention Records presents a special collaborative distribution effort with Italian objet-a records, Zen Widow IV – (from one dark age to another). This AAA 180G vinyl release is the fourth recording of Zen Widow, and it places an emphasis on highly melodic, spacious, and engaging treatments of medieval compositions ranging from Gesualdo Da Venosa, the Burana and Chantilly Codex, Welsh Gower folk melodies and texts, as well as the Bach Cello suites. These rich compositions are then reimagined through the lens of a highly accomplished and adventuresome jazz-improvised music trio.
Zen Widow is an international improvisational music-jazz super group. They have recorded and performed in clubs and festivals throughout the United States and Europe for that last 20 years. The trio consists of Gianni Gebbia (Bb soprano saxophone – cornettophone ) from Sicily, Italy, Matthew Goodheart (grand piano – transducer-actuated gong) from New York, Garth Powell (drums, percussion, and gongs) from Los Angeles, and is joined by special guest Dwight Trible (vocals) for this recording. Their previous release featured trumpet and jazz master Wadada Leo Smith, and like this recording was produced by Joe Harley (Blue Note – Tone Poet Series, Charles Lloyd, and Music Matters Jazz).
Garth Powell is also an audio industry legend, and AudioQuest’s Sr. Director of Engineering. Garth is the driving force behind the company’s multi award-winning line of Niagara series power conditioners and its Mythical Creatures ultra high-performance cables.
As powerful as these performances are, the sonic results created by this production/engineering team is equally stunning – a truly reference quality analogue experience.
This recording is captured live-to-two-track analogue, 30ips tape at Capitol Studios (studio “A”) by Mike Ross and Steve Genewick. 7 of the 8 tracks are AAA, while the last track alone is finished high-res digital to accommodate the vocal track. Mastering and lacquers cut by Kevin Gray at CoHEARent Audio, with 180-gram pressings by RTI (Camarillo, California).
The single-gatefold jacket is a deluxe Old Style “tip-on” from Stoughton, designed by Intervention’s longtime Art Director Tom Vadakan.
180g audiophile vinyl reissue of American blues guitarist Melvin Taylor's 1995 album 'Melvin Taylor & The Slack Band', which is appearing on vinyl for the first time with remastering by Cicely Baston at Alchemy/Air Mastering, London "The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere - outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead- tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair - basic trio with minimal overdubs, serviceable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole. The originals "Depression Blues" and "Groovin' in New Orleans" add some funk flair, while "Talking to Anna Mae" is a straight- up Chicago boogie instrumental that Taylor shines on. But he's even more in his element on the unadorned slow blues "Tin Pan Alley" and King's "Don't Throw Your Love on Me So Strong." It's partly the speed but even more the phrasing - the unexpected stops and starts, the spiky and blazing runs and flurries, the unusual note selections he tosses in - that sets his playing apart. The other covers have their sporadic moments - "TBone Shuffle" is inconsequential, but Otis Rush's "All Your Love" and "Voodoo Chile" are worth listening to, even if the latter doesn't add anything to the famous Hendrix wah-wah workout. Taylor actually doesn't sound that radical here, like he was playing to establish blues circuit credentials by putting his stamp on familiar songs more than indulging offbeat personal touches like the mellow lounge jazz take on the Champs' "Tequila." But his playing can be truly electrifying and Melvin Taylor & the Slack Band is recommended for anyone, especially Stevie Ray Vaughan fans, looking for a distinctive new blues guitar voice." - Don Snowden, AllMusic Personnel: Melvin Taylor, guitar, vocals / Willie Smith, bass guitar / Steve Potts, drums Recorded and mixed on March 27-30, 1995 at Dockside Studios, Maurice, LA
TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!
Play Loud wird die gesamten Aufnahmen (siehe Liste unten) der Manchester-Post-Punk-Band GODS GIFT (1979-1985) veröffentlichen, einige davon zum ersten Mal überhaupt. Mark E. Smith von The Fall war Fan. Gods Gift-Gitarrist Steve Murphy hat 11 Songs für ihre allererste LP zusammengestellt.
Gods Gift gab es, als viele Manchester-Gruppen Ruhm und Reichtum erlangten. Manchester brachte einen düsteren Soundtrack für die musikbegeisterte Jugend dieser Zeit hervor. Die gotischen Katakomben waren der Nährboden für viel Zorn. Gods Gift wollte seine Wut und seinen Hass gegen eine Welt zum Ausdruck bringen, die auf nichts so Belangloses wie die Menschen hört. Wenn die Leute beim Konzert plapperten, wurde die Lautstärke auf ohrenbetäubende Lautstärken eingestellt, wodurch eine Wand aus dissonantem Lärm entstand, unterbrochen von den hymnischen Schreien eines weiteren wütenden Refrains
‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.
Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.
It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.
Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.
Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.
The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.
22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
"Marathon was formed in 2019 by Mark Kelly, the keyboard player with Marillion.
Together with Guy Vickers, Oliver M. Smith (vocalist), Pete “Woody” Wood (guitar,) John Cordy (guitar), Henry Rogers (drums) and his nephew Conal Kelly (bass), Mark Kelly turned his vision into reality. Marillion bandmate Steve Rothery also joined the band and contributed the lead guitar to the song “Puppets”.
The band recorded their debut album in separate locations between March and July 2020 during lockdown. The members of the band came together (some meeting for the first time) at Peter Gabriel's Real World Studios on the 28th & 29th of July to record and film a live version of the album, which will be available as a Bonus DVD together with the album."
Wewantsounds continues its Akiko Yano series with the reissue of her cult classic 'Ai Ga Nakucha Ne' recorded in 1982 and co-produced by Ryuichi Sakamoto. Featuring Japan, the album includes additional recording in Tokyo with YMO and is mixed by Steve Nye and Shinichi Tanaka. It is the first time the album is released outside of Japan and the deluxe LP features the original artwork with gatefold sleeve and a lavish 24-page colour booklet with sessions photos by Pennie Smith (famous for The Clash's London Calling photo). The reissue also includes a new introduction by Mac DeMarco and a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. The audio remastered from the Original tapes by Mitsuo Koike.
'Ai Ga Nakucha Ne' ('there must be love' in Japanese) is Akiko Yano’s 6th studio album and follows 'Tadaima' in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English fellow musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes "Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7."
The eleven tracks featured on "Ai Ga Nakucha Ne," mostly composed by Akiko - are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, "I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.
There are many highlights on the album, from the pop edge of "Aisuru Hito Yo" to the avant groove of "Another Wedding Song", each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian.
The original 1982 LP release included a 24 page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album, Akiko and Steve Jansen making this release of 'Ai Ga Nakucha Ne' a unique testament to Akiko Yano's greatness.
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Following 2 acclaimed first editions, Stix Records presents the 3rd
volume of its Disco Reggae compilation series.
Like previous one, the 9 tracks comp is made both from productions
of the home labels now sold-out as vinyl, and from brand new
exclusive music by the like of Taggy Matcher, Mato or newcomer
Rosemary Martins, taking over classics titles from Donna Summer,
Stephen Encinas, Roberta Flack, Herbie Hancock, Steve Parks, or Inner City.
The perfect soundtrack to extend the summer!!
“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman
“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)
“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.
Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer. Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.
Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz
Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."
Winner of the Deutscher Jazz Preis: Best International Debut Album 2023
With "Times Are Tight" we have the missing link of the "soul chain" where Neddy Smith, Steve Kahn & Co.,Touche', Maxine Singleton, Jagg ... have found a pinch of glory. The history began 40 years ago when S.P.Q.R. (sub-label of Best Record) released "Danceteria", a wonderful compilation with 10 disco-soul-funk songs produced in the States among which the fantastic tune written, arranged and performed by Jimmy Young, still relevant today, that during the summer 1983 was rocking half world's dancefloors. The vocal side of "Times Are Tight" is so good for vibe and sentiment, while the instrumental version is early 80's disco-funk perfection. Great groove with really interesting instrumentation and variation. Yes indeed! This is the classic funk anthem from the early 80's - the lyrics are so apt for the current economic situation "Don't give up, your day is coming!"
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
Produced alongside Aaron Dessner (The National, Sharon Van Etten, Taylor Swift), Collections From The Whiteout heralds the first time Ben has opened the door to production outside of he and his bands closer confines.
The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections.. These are songs written from headlines scanned, or news stories scrolled past. Ben has taken those snippets and let his curiosity take control, creating an aural scrapbook that reverberates with tape loops and guitar FXs.
There are sounds akin to Brian Eno, Durutti Column and Steve Reich in there, but also Neil Young and Townes Van Zandt. It’s a million miles away from Ben’s multi-platinum selling debut, but a path plotted from Ben’s then to his now isn’t so far removed.
The door was also left open to some new players too. Yussef Dayes, one of the UK’s most innovative young drummer/producer’ especially in the field of jazz features, as does Kate Stables from This Is The Kit, James Krivchenia from Big Thief, Kyle Keegan from Hiss Golden Messenger, and the aforementioned Aaron Dessner lent his hand too where needed. Long-term guitarist to Ben’s band, Mickey Smith, remains a reassuring presence. Rob Moose, a long-standing arranger of strings for Bon Iver and a collaborator to Laura Marling, Blake Mills, and Phoebe Bridgers is also present, peppering the mix.
„Emotional Contracts“, das erste Album von Deer Tick seit 2017, ist das bisher kollaborativste Werk der Band und zeigt alle vier Mitglieder in Höchstform. Produziert von Dave Fridmann, bietet die 10 Songs Auftritte von Gastmusiker wie Steve Berlin (Los Lobos) und Hintergrundgesang von Courtney Marie Andrews, Vanessa Carlton, Kam Franklin, Angela Miller und Sheree Smith. Das Debüt von Deer Tick bei ATO Records verleiht ihrer mitreißenden Sammlung von zeitlosem Rock'n'Roll noch mehr Vitalität.
Inspired by the rawness and honesty of artists like Elliott Smith, Julien Baker, Adrianne Lenker & Sufjan Stevens, Callum Pitt imbues his indie-folk with grand, orchestral, chamber pop sensibility plus an alt-rock edge. Despite using music often as a canvas to openly discuss depression & anxiety, as well as political unrest, Callum still manages to imprint feelings of optimism and unity, alongside genuine warmth and honesty, throughout his songs.
This debut album In The Balance pinpoints back to one night in 2019, where Pitt was handed an earth-shaking reminder of how much hangs in the balance with each passing second. Minutes after he waved goodbye to his brother and parents as they left his house, a fire engine hit the back edge of their car. They were all unharmed. But if the car was in the engine’s path a fraction of a second later — if Pitt had said one more word at the doorstep — it would have ploughed directly into the drivers’ side.
28-year-old Pitt has been working on his craft for a decade, beginning in the Newcastle pub scene and gradually refining his thoughtful, poetic songwriting voice. He won the Alan Hull Award for songwriters in 2019, and the Fender Player Plus competition in 2021. Meanwhile, he’s studying a masters in Occupational Therapy, and has worked with children, young people and adults with disabilities through various outlets, including therapeutic music work. These are experiences that shaped In The Balance, his first true body of work, giving him a new perspective on the cathartic and unifying power of music.
Packed full of bonus content, the album has had a fresh 2023 Stereo Remix by Mike Hunter, liner notes by Rich Wilson, and brand-new artwork. Originally released in 1989, Seasons End was Marillion’s fifth studio album and first with Steve Hogarth fronting the band, following the departure of former frontman Fish, spanning three singles; Hooks In You, The Uninvited Guest and Easter which all went on to chart in the UK. As well as a change in vocals, Seasons End also marked a change in visual identity with the band, which has been reflected in the 2023 deluxe edition of the album. At the time there was a desire for a change of direc-tion from the more illustrative style of Mark Wilkinson’s artwork & logo, replacing that with a more photo-graphic graphic style provided by Bill Smith Studio & Carl Glover who went on to work with the band over the coming years. A new direction began, with Steve Hogarth now fronting the band, and with this first release of Seasons End there was a need to retain some familiar elements for existing fans of the band, so a decision was made to carry through the original logo & some nods to previous artworks. The 2023 Deluxe Edition has taken on another new approach, which took some of the original artwork ele-ments without the need for older logos and imagery - presented in a slightly different form. Based around the four main elements of Earth, Air, Fire & Water, from the original cover concept, the rectangular panels became triangular as these elements are often depicted in symbology. The panels are sat in a background with an ab-stract representation of the space out of which these elements are born, giving it all a more universal feel. A whole range of new images were then created for each of the ten tracks using the same abstract painted col-lage style to tie it all together as content for these extended art books that accompany the 2023 releases.
Packed full of bonus content, the album has had a fresh 2023 Stereo Remix by Mike Hunter, liner notes by Rich Wilson, and brand-new artwork. Originally released in 1989, Seasons End was Marillion’s fifth studio album and first with Steve Hogarth fronting the band, following the departure of former frontman Fish, spanning three singles; Hooks In You, The Uninvited Guest and Easter which all went on to chart in the UK. As well as a change in vocals, Seasons End also marked a change in visual identity with the band, which has been reflected in the 2023 deluxe edition of the album. At the time there was a desire for a change of direc-tion from the more illustrative style of Mark Wilkinson’s artwork & logo, replacing that with a more photo-graphic graphic style provided by Bill Smith Studio & Carl Glover who went on to work with the band over the coming years. A new direction began, with Steve Hogarth now fronting the band, and with this first release of Seasons End there was a need to retain some familiar elements for existing fans of the band, so a decision was made to carry through the original logo & some nods to previous artworks. The 2023 Deluxe Edition has taken on another new approach, which took some of the original artwork ele-ments without the need for older logos and imagery - presented in a slightly different form. Based around the four main elements of Earth, Air, Fire & Water, from the original cover concept, the rectangular panels became triangular as these elements are often depicted in symbology. The panels are sat in a background with an ab-stract representation of the space out of which these elements are born, giving it all a more universal feel. A whole range of new images were then created for each of the ten tracks using the same abstract painted col-lage style to tie it all together as content for these extended art books that accompany the 2023 releases.
• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.
• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.
• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.
• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).
On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:
On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.
On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.
On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!
On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.
These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.
The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.
• The Classic Example were a Los Angeles duo - possibly the song-writing team of Curtis Colbert and Harriet Hurst who provided four of the songs on the eponymous 1972 GSF LP. Inexplicably the superb dance track ‘Right On’ was the only one omitted from the album, but Kent’s licensing deal with Mickey Stevenson’s Stevenson International revealed this gem.
• It was finally released as a promo 100 Club Anniversary 45 in 2021 and has been in demand ever since. Now it can be purchased at a reasonable price with the duet’s excellent harmony ballad ‘I Found Me A Girl’ added on the B side. The backing group is none other than Hodges, James, Smith & Crawford.
"Hans Zimmer LIVE" versammelt mehr als zwei Stunden neuer Musik des in Frankfurt am Main geborenen Komponisten-Stars! Für das Album hat Hans Zimmer neue "Suiten" arrangiert, die auf einigen der bekanntesten Themen und Melodien aus seinen Oscar®-prämierten Filmmusiken basieren, darunter "Dune" und "Der König der Löwen" sowie für moderne Filmklassiker wie "The Dark Knight", "X Men: Dark Phoenix", "Dunkirk", "Gladiator", "Inception", "Interstellar", "Last Samurai", "Man of Steel", James Bond: "Keine Zeit zu Sterben", "Fluch der Karibik" und "Wonder Woman 1984".Gemeinsam mit seiner 20-köpfigen Band "The Disruptive Collective", in der eine Reihe langjähriger musikalischer Partner des Komponisten mitwirken, sowie mit dem Odessa Opera Orchestra und Chor hat Hans Zimmer ein episches Musikspektakel geschaffen, das stimmungsvolle klassische Arrangements und elektronische Elemente mit dem kraftvollen Sound einer Rockband verschmilzt."Ich wollte einfach ein tolles Album produzieren", sagt Zimmer, der "Hans Zimmer LIVE" ähnlich wie eine Studioproduktion an zehn Abenden seiner gleichnamigen Tour im Frühjahr 2022 aufzeichnete und mehrere Wochen damit zubrachte, das Album gemeinsam mit dem Produzenten Stephen Lipson abzumischen. "Ich wollte der Musik ermöglichen, auf neue Weise in ihrem eigenen Zusammenhang zu atmen, und ich bin absolut begeistert von dem fantastischen Team, das mich bei diesem Abenteuer unterstützt hat.""The Disruptive Collective" vereint Musiker, die schon lange mit Hans Zimmer zusammenarbeiten, etwa die Sänger*Innen und Komponist*Innen Lisa Gerrard ("Gladiator"), Lebo M. ("König der Löwen") und Loire Cutler ("X Men: Dark Phoenix"), die Cellistin Tina Guo ("Wonder Woman 1984") und Nick Glennie-Smith (musikalischer Leiter der Band). Zu den weiteren Solist*Innen zählen Andrew Kawczynski (Synthesizer, Schlagzeug), Pedro Eustache (Holzblasinstrumente), Refi (Gesang), Rusanda Panfili (Gesang), Guthrie Govan (Gitarren), Andy Pask (Kontrabass), Aicha Djidjelli (Trommeln), Steven Doar (Schlagzeug, Keyboards), Molly Rogers (Gesang), Juan Garcia Herreros Snow Owl (E-Bass), Nile Marr (Gitarren), Leah Zeger (Gesang), Holly Madge (Drumkit), Aleksandra Suklar (Schlagzeug). Hans Zimmer spielt auf dem Album eine Reihe verschiedener Instrumente.Die 2 CD-Version im Digipac enthält ein Booklet mit Bildern von der Live-Show und Illustrationen, einen persönlichen Text von Hans Zimmer und Texte zu allen Solisten.Die limitierte audiophile Vinyl-Version enthält 4 x 180g LPs im Quadfold mit bedruckten Innentaschen. Enthalten sind Bilder von der Live-Show und Illustrationen, ein persönlicher Text von Hans Zimmer und Texte zu allen Solisten. Direct Metal Mastering. 33 RPM.
Brainwave research center is a new project from NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).
Conceived together over two years as musical thought experiments, brainwave research center’s debut album, figure 1, contains a genre-bending distillation of influences from experimental music (Steve Reich, Laurie Spiegel, Black Dice), 1990s ambient techno (The Orb, Pete Namlook/Fax Records), and Motorik/Kosmiche/Krautrock (Kraftwerk, Suicide, Manual Gottsching).
The songs embrace a raw, naive approach to sound design, instrumentation, and technical production to capture the feeling of experimentation of the works they are inspired by. Described by listeners as a mixture of Electronic, ambient, and kosmische/krautrock.
Recorded and produced in Greenpoint, Brooklyn in the back of Smith’s synthesizer/electronic repair shop, Specs Sales & Repair, Figure 1 is the first in a sequence of 4 works to be released.
Made primarily with TR-606, OB8, SH-101, MS-20, Fizmo, H3000, SDE-3000
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
French pianist Melaine Dalibert, known for his releases on contemporary music labels such as Another Timbre and Elsewhere, his work with David Sylvian, Ensemble 0, Sylvain Chauveau, and world premieres from Gérard Pesson, Giuliano D'Angiolini, Michael-Vincent Waller, Tom Johnson, has signed with FLAU in Japan to release a new album Magic Square.
Across the album's eight tracks, the French pianist and composer takes listeners on a "fantasy journey". Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.
Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert's music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.
“Melaine Dalibert, himself a composer whose works similarly deal in patience and space, is an ideal interpreter « As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language. » (Mark Medwin, Dusted Magazine, juillet 2021) of such beguilingly modest music, and this sensitive recording lets every detail resound.”
Steve Smith — The New-Yorker
“compositions by French pianist Melaine Dalibert, is a warm stream of harmonious ripples that echoes the graceful postclassical music of Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, etc, but the economy and precision, combined with Dalibert’s calm hands on the keys, put it on a whole other level of beauty.”
Derek Walmsley — the WIRE
“As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language.”
Mark Medwin — Dusted Magazine
“Dalibert is one of the most effortlessly talented and subtlety creative pianists at work today”
Roger Batty — Musique Machine
“Au-delà des genres et au dessus de ce monde, le pianiste français Melaine Dalibert continue d’échafauder une œuvre d’un autre temps, d’un futur à construire avec une musique qui doit autant à Federico Mompou qu’à l’Acousmatique. Night Blossoms, son dernier disque en date (avec la participation de David Sylvian sur deux titres) est une pure merveille !”
Greg Bod — Benzine Mag
“La musique de Melaine Dalibert, héritière de cinquante ans d’expériences minimalistes, correspond à l’impérieux besoin du public d’aujourd’hui de cultiver un hors-temps et de se plonger au cœur du son. Elle y répond parfaitement”
Guillaume Kosmicki — Res Musica
“Comment des pièces reposant sur des constructions aussi abstraites et rigoureuses peuvent-elles susciter autant d’émotion à l’écoute ? La musique de Melaine Dalibert projette l’auditeur dans un univers où l’assommant temps quotidien n’a plus cours. Plus de mesure, plus de début ni de fin : pour qui accepte de se laisser prendre, Night Blossoms fait perdre tous les repères du commensurable”
Guillaume Kosmicki — Hémisphère Son
Death Is Not The End launch sub-label 333 with a first-time vinyl reissue for the late Devon Russell's Darker Than Blue LP - put together as a tribute to the great Curtis Mayfield. First issued in 1993 but featuring material originally recorded as far back as 1979, the collection includes a cast of prominent players across it's 10 tracks - featuring musical contributions from Sly Dunbar, Aston "Family Man" Barrett, Earl "Wire" Lindo, Dean Fraser, Bobby Ellis, Leroy "Horsemouth" Wallace, Prince Lincoln Thompson and many others - plus production & arrangment from Earl "Chinna" Smith, Sly Dunbar & King Tubby's Firehouse Crew alongside Russell himself. Limited to 333 copies.
"The concept for Darker Than Blue dates back to 1979. Returning from South Amerrica with my partner (in duo Lloyd & Devon) Lloyd Robinson, we did "Red Bum Ball" which had been a massive hit in the 60's. It was around this time that Earl Chinna Smith (of The Wailers and Soul Syndicate fame) approached me with the idea of re-making some Curtis Mayfield songs. "Darker Than Blue" was the first track we did, followed by "Move On Up" in 1981, both of which received great reviews.
On returning to Jamaica from a UK tour in 1986, my good friend King Tubby had taken on five men from my school of music, from which the Firehouse Crew were born. Within 3 years they had matured to become Jamaica's No.1 instrumental band, winning the Rockers award. Then in the spring of 1990, together we managed to record the album "Money, Sex & Violence", during a tour of the UK & France, on which we did Mayfield's "Give Me Your Love". The track was played to Steve Barrow who suggested we do more Curtis tracks.
Sly Dunbar and I have known each other for as long as I can remember. We grew up in the same hood and used to jam regularly in our youth. I told Sly about the further Mayfield tracks I wanted to do and he agreed that it would be a good idea. So Sly, myself and The Firehouse Crew went to work at the Leggo Studios in Kingston, Jamaica and created the remaining tracks for the Darker Than Blue LP, a tribute to Curtis Mayfield.
We grew up on the sounds of Curtis Mayfield and The Impressions. Everyone in Jamaica loved them. His death was a terrible thing, but while there is life, there is hope."
- Devon Russell, 1994.
333, under license from Prestige Elite Records Ltd.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.
Walter Smith III and Matthew Stevens are two musicians at the forefront
of developments in jazz and improvised music, listing the likes of
Terence Blanchard, Ambrose Akinmusire, Esperanza Spalding and
Christian Scott as collaborators
The pair started working together in 2017, and four years later, they're back for
the third iteration of their highly commended In Common project. Previous guests
include Nate Smith, Linda May Han Oh and Marcus Gilmore; on 'In Common 3',
Kris Davis takes the piano chair vacated by Micah Thomas, and completing the
lineup are two legends of the game - Dave Holland and Terri Lyne
Carrington.What's new, third time around? "It's longer, freer, and yet more
spontaneous," says Smith. The successful In Common formula - inventive 'onepage songs' written with specific musicians in mind - disguises the through-line
that uniquely shapes this record: "The spotlight is on the community of musicians
as a whole," Smith comments. "The general vibe is sculpted by the musicians'
interpretations of what we bring in." Davis' influential presence means the project
leans into the aesthetics of free improvisation for the first time; the resulting
soundworld lends itself to electronic manipulation, another first for the series.
The span of fifteen tracks showcases the duo's knack for reinvention, slipping
into unfamiliar contexts without losing sight of the album's focused essence.
Smith is keen to emphasise the standalone nature of the divergent In Common
recordings. Some aspects carry through though, like their commitment to
remembering lost influences - opener 'Shine' serves as both a thank you and an
acknowledgement to McCoy Tyner, Wallace Roney, Chick Corea, Jimmy Health
and Ellis Marsalis. That introduces the remaining fourteen tracks, that divide
nearly exactly into spontaneously constructed ideas that introduce fully
composed tracks.
Eight distinguished artists wrote and recorded original pieces for this album which joins the dots between vintage, experimental and neo-classical ambient, and pays tribute to the relaunched Made To Measure composers' series. All tracks were made to measure for this album, and revolve around the loose idea of wordless fiction. Aside from being such a seductive, fascinating collection of tracks and moods, the album is also modestly aiming at joining dots between certain classic ambient composers (represented here by Benjamin Lew & Steven Brown and Stubbleman, whose work has previously appeared in the Made To Measure series), artists who approach experimental ambient from their pop or club background (Lucrecia Dalt, Inne Eysermans, Matias Aguayo), and eminent exponents of the great new generation of ambient music composers (Kaitlyn Aurelia Smith, Christina Vantzou, Mary Lattimore, Félicia Atkinson). Fictions was curated by Marc Hollander.
By 1974, the Alice Cooper group had risen to the upper echelon of rock stardom.. and then, parted ways. In October 2015, over 40 years later, record store owner and superfan Chris Penn convinced the original line- up to reunite for a very special performance at his record store Good Records in Dallas, Texas.
Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal Smith (drums) were joined on stage by Alice's current guitarist Ryan Roxie (standing in for the late Glen Buxton). A packed audience, believing they had come to Good Records for Dennis Dunaway's 'Snakes! Guillotines! Electric Chairs!' book signing, were surprised to bear witness to a full-blown happening.
The historic reunion show including all-time classics such as "No More Mr. Nice Guy", "I'm Eighteen" and "School's Out" is now becoming available for the very first time worldwide. Luckily the event was documented. "Live From The Astroturf, Alice Cooper" (edited and directed by Steven Gaddis) toured the world to the acclaim of music fans and rock journalists alike. The documentary won multiple
awards for its coverage of the historic event. Now all Alice Cooper fans and rock music lovers across the globe can enjoy this movie as it's included as a video bonus to this live album.
By 1974, the Alice Cooper group had risen to the upper echelon of rock
stardom..
and then, parted ways. In October 2015, over 40 years later, record store owner
and superfan Chris Penn convinced the original line- up to reunite for a very
special performance at his record store Good Records in Dallas, Texas.
Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal
Smith (drums) were joined on stage by Alice's current guitarist Ryan Roxie
(standing in for the late Glen Buxton). A packed audience, believing they had
come to Good Records for Dennis Dunaway's 'Snakes! Guillotines! Electric Chairs!'
book signing, were surprised to bear witness to a full-blown happening.
The historic reunion show including all-time classics such as "No More Mr. Nice
Guy", "I'm Eighteen" and "School's Out" is now becoming available for the very first
time worldwide. Luckily the event was documented. "Live From The Astroturf,
Alice Cooper" (edited and directed by Steven Gaddis) toured the world to the
acclaim of music fans and rock journalists alike. The documentary won multiple
awards for its coverage of the historic event. Now all Alice Cooper fans and rock
music lovers across the globe can enjoy this movie as it's included as a video
bonus to this live album.
Limited Edition, Numbered, Curacao coloured Vinyl & DVD.
Jeff Beck and Johnny Depp tapped into the frustration of living through the pandemic in 2020 with their well-timed cover of John Lennon’s “Isolation.” The Grammy winning guitarist and Hollywood Vampires co-founder are back with their first album together, appropriately titled, JEFF BECK AND JOHNNY DEPP. On the new record, Beck’s first studio effort in six years, the artists coax unexpected performances from one another on 11 covers and two originals that touch on everything from Celtic and Motown to John Lennon, the Beach Boys and The Velvet Underground.
The result is a wild roller coaster ride through different genres where hairpin juxtapositions deliver some of the album’s biggest thrills. A remarkable example comes early on when the industrial stomp of Killing Joke’s “Death And Resurrection Show” gives way to the intense heartache of Dennis Wilson’s “Time.” Each performance stands on its own, but the sharp contrast created by sequencing them together heightens the emotional impact of both songs.
The duo recorded most of the album in Beck’s studio over three years while Depp lived on and off in the guitarist’s English cottage. Robert Adam Stevenson co-produced several tracks on the album and engineered many of the sessions remotely from Depp’s studio in Los Angeles. When the basic tracks were finished, they were fleshed out by musicians who’ve played with Beck through the years, including drummer Vinnie Colaiuta and bassist Rhonda Smith.
The album title will be “18.” The cover illustration (attached) was done by Jeff’s wife, Sandra and pictures them when they were both 18. Here’s Jeff’s comment on the title from the PR: Beck explains the album title: “When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too.”
Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin
Mudlow have been making trouble and music for over twenty years,
playing stages as far-flung as Minnesota's Deep Blues festival, Belgium's
Muddy Roots festival and Dorset's Dark Holler festival, to name a few -
Their good fortune has led them to play alongside household names such
as Model T Ford, Cedric Burnside, Seasick Steve, Scott H Biram, The
Detroit Cobras, The Jim Jones Review, Daddy Longlegs, The Bonnevilles
and Alabama 3 - Now it is time for Mudlow to become a household name
themselves
.Dangerous and unashamedly funky, Mudlow's world is populated with characters
full of lament and thoroughly committed to their mistakes. Tobias Tester (Guitar/
Vocals), Matt Latcham (Drums, Percussion) and Paul Pascoe (Bass/ Producer)
soundtrack these fables of misfortune with their distinctly scuzzy take on the
blues. Prepare to enter their world as Mudlow take you Lower Than Mud...
· "Wild bluesy rock from Mudlow, who have been going a good twenty years but
never quite got their due. I hope their new album "Bad Turn" will change that" –
Huey Morgan, The Blues Show, BBC Radio 2 · "This is really good" – DJ Andy
Smith · If you have soul, you need this new Mudlow record. If you don't have soul
you need this Mudlow record to help you get some." - Andy McGibbon Jr, The
Bonnevilles · "Mudlow are a swamp dream of a band... You have to hear this
beast" – Folk and Honey
‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.
Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.
DJ Feedback:
FRANCOIS K
Yes! I played the vocal version the other day again.
KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!
GREG WILSON
What's not to like? Love the orig Solange jam!
DANNY KRIVIT
Nice, I like a lot of DJ Oji.
SOUL CLAP/ ELI GOLDSTEIN
Fire right here
DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.
THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!
TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x
HOT TODDY
Simply beautiful.
CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools
CHARLES WEBSTER
Nice soulful groover. Like this.
FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time
FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.
FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!
STEVE PARRY / FOR SASHA
Really Smoove love it.
GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!
RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.
QUENTIN HARRIS
I love this package.
GRAME PARK/ THE HACIENDA
This is tremendous
HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.
ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.
DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x
MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!
STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!
TREVOR FING/ GRAFITTI KINGS
Love these remixes.
MAX P/ HELL YEAH
Yeah, full pack is what I needed !
HORSE MEAT DISCO/ SEVERINO
Really into this!
SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work
GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
TREVOR FUNG/ GRAFITTI KINGS
Love this !!
QUENTIN HARRIS
Being a fan of the Original I love everything about this.
ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!
DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx
NICK V/ LA MONA
This is a fantastic track!
MAX P/ HELL YEAH
Oh yeaahhhh
RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.
MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!
TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!
RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.
JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it
CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x
DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!
STEVE PARRY/ FOR SASHA
Beautiful super smooth.
LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.
Benefits are an issues-based music collective from Teesside in the
North East of England. They write songs about the urgencies that
concern them, and they play them loud.
Forming in 2019 and consisting of Kingsley Hall on vocals, Robbie
Major and Hugh Major on synths and noise, and Jonny Snowball
on drums, they quickly evolved from a standard shouty punk rock
outfit into a minimalist, overtly political band that merges noise,
hip-hop and industrial rock, creating an effect that feels urgent,
darkly hilarious and unsettling all at once.
Thus far, Benefits have been completely DIY yet, via a succession
of digital singles and accompanying videos through 2021, they
built a following that enabled them to complete a sold-out headline
UK tour in March 2022. They also gained fans in high places,
including Sleaford Mods, Black Francis, Garbage and Elijah Wood
and Steve Albini.
James and Ryan of Yard Act were also instant admirers and that’s
where their label Zen F.C. comes in. Using their ill-gotten major
label gains Zen F.C. are pressing Benefit’s single ‘Flag’ (backed
with ‘Empire’) on vinyl.
On working with Yard Act, Kingsley comments: “I think Benefits
come at some of the same subject matter that they talk about but
from a slightly different angle (and by ‘slightly different’ I really
mean ‘more frequent swearing’, though we've never said the C
word in a song unlike...ahem). We appreciate every bit of help
we’ve had off them, we just wish we could somehow repay that
kindness (not monetarily mind, we're totally skint).”
Yard Act’s James Smith says of the release: “Lots of bands are
saying all this stuff so what makes Benefits so special? Why do I
need to be told what I already know over and over again by a
shouty man from Teesside? Well, because no one else is saying it
with such physicality they sound like their voice box is about to
leap from their throat and eat your eyeballs. With that little bit of
influence we’ve garnered and the small fortune of money we now
have kicking about, I’m so glad we can play a part in spreading the
word on Benefits, because I think they’re well on their way to a
classic debut album, and I’m going to fucking love being able to
brag about how important I was in making it all happen.”
