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Dark-Side Electro Conjurations- and Gnashing EBM from Medellin, Colombia, Seething with Raw-Punk Energy & Foamy Blood around the Mouth. No nonsense Body Music!

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration. Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike. Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame. Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful
collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques. This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

When people talk about Italian dance music, they tend to focus on Rome and Napoli rather than Bologna. Yet the city in Northern Italy not only played a key role in the development of “Italo-house” in the late 1980s and early ‘90s, but also boasts a vibrant contemporary scene. To prove the point, Boogie Café has put together “Bologna On The Move”, a four-track selection of sizzling hot cuts from some of the city’s latest wave of deep and soulful dance music talents.

Leading the charge is Sam Ruffillo, a producer who first appeared on Boogie Café last year following an impressive 2018 debut on Irma Dance floor. He kicks off proceedings with the infectious “U Make Me Sing”, a heavyweight slab of rolling breakbeat goodness rich in tight vocal samples, jazzy guitar licks and wonderfully warm and weighty bass.

Later in the EP Ruffilo returns to action alongside Brine, another rising star with links to legendary Italian label Irma. “Request Line” is a fine slab of chunky, U.S garage-influenced deep house that sees the duo pepper swinging drums and toasty bass with heady organ stabs, cut-up vocal samples and trippy electronics.

Fittingly, Brine gets a chance to showcase his skills as a solo producer via “Star Chaser”, a looser and jazzier house excursion that doffs a cap to the glory years of jazz-funk whilst championing rich deep house synth riffs, jaunty bass and more spaced-out vocal snippets.

You’ll hear a similar jazz-funk influence at the heart of the EP’s only contribution from Red Rooster founder and former House of Disco artist D’Arabia. The most experienced of the three artists on show, he offers up “Straight Outta Fire”, a bouncy, deep and percussive affair that wraps drowsy male vocals, sustained chords and harmonica samples around disco-influenced house beats and what may well be the squelchiest bassline ever to emerge from Bologna.


DJ Support:

Bedmo Disco, Lord leopard, Melon Bomb, Dave Harvey, Haze City, Aroop Roy, Lay Far , Danvers, Kassian, Dave Jarvis,
Jimmy The Twin & Cengiz.

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

Pacific Shore makes modern melancholy hip-hop-soul-jazz with love. The duo’s "road music” evokes a dreamlike and cinematic musical journey. In the studio and on stage, the duo shows that machines, live instruments, and vocals can make electronic music organic, warm, and alive.


Immersed in the studio for a while, the duo are back with the album "Two Kingdoms", their biggest project so far. Without complex, these 17 tracks transport us between vaporous pop/funk groove and hybrid experimentations. A lively, moving and poetic work in search of a certain sense of life on Earth.


As Ying and Yang the album is a combination of two interdependent chapters, we find the voice of their faithful friend and collaborator Sarah Linhares on the tracks Overboard, Knees Wet, Borders among others. As well as the very intriguing Majin Blobfish on Light & Shade and the appearance of a new voice from Pacific Shore on several titles: Two Kingdoms, Home, A Part of Me...

Having finished the announcement for RIP Swirls first EP that was out late last year on Public Pos-session, titled “9Teen90”, with the words: “A better life starts here”… we now find ourselves in a situa-tion where we might have given a slightly off prognosis. Despite whatever happened out in the real world, Rip Swirls music was a good & constant companion in the last couple of month.
On his new EP he picks up where he has left off in terms of mood, subtly introducing more silhouet-tes of his broad musical tastes. As icing on the cake the record includes features by “Catnapp” and “Sofie”. Wherever you may be - we “Hope U Are Well”. Enjoy the music.

Second release from Royer Records. This very hard to find disco holy grail is finally back on the shelves for the first time since 1978.
"Super-Disco" is the first ever release from Cameroonese artist Pierre Tchana. A 2 tracker holding the dancefloor filler "Soul Disco" on face A while the flip hold a more afro-rock tune called "Get Up Dance" .

This comes pressed on an heavy 12" and in limited quantity.

After thirteen years and over ninety releases, Med School has stacked the chairs and closed it's doors. As a final farewell to the label, the “Med School: Graduation” compilation celebrates the life of Hospital Records’ sister label, as well as the musicians and culture that defined it.

With 23 brand new tracks from label stalwarts such as Bop, Keeno, Etherwood and Whiney as well as the new blood that was always so important to the labels experimental output.

In Med School fashion, the album brings together a myriad of drum & bass stylings and beyond. From the microfunk movements of Bop to Illexandra’s warped emergency warnings, Lakeway’s upfront grime beats to the unique electronic musings of Frederic Robinson, A. Fruit and Kimyan Law.

Representing the serene side of Med School is Etherwood’s “Nowhere To Go But Everywhere”, alongside beautiful contributions from Keeno, Natus and Polaris. The tribal infusions of Royalston’s stepper “Mark’s Shibari Groove” and Lung’s technofused rabbit hole “Stop Crying” switch up the pace to reflect the breadth of Med School’s outputs. The compilation also calls back to the very beginnings of the label with a special VIP treatment of S.P.Y’s first release in the Hospital camp, MEDIC1 “Black Flag”.

Whiney not only brings in his deep new stepper “Close To You” but is also the man behind the continuous mix on the album, seamlessly bringing together all 23 tracks for one final salute to Med School Music.

“Medschool was an amazing label for taking risks. from Syntax to The Erised and everything in between... Without risks and new talent we cannot grow. Without you believing in our risks and new talent we are nothing”

In 2016 Patrick Doyle relocated from London to LA, midway through writing his new album – the follow up to his recent acclaimed release as Boys Forever. The self-titled Boys Forever album was Patrick’s debut as a solo artist after years of playing in well-loved indie bands including Veronica Falls, The Royal We and Sexy Kids.

On moving to LA he continued working on the songs for his next record – emailing them to Helen Skinner (who toured as a member of the Boys Forever three-piece live band, and now plays in Barry) who added a bass line to the songs and sent them back to Patrick. They continued to finish writing the record via email and in February 2017 Helen joined Patrick in LA to record Keeping Up Appearances. They recorded the album over four days in February 2017 at LA’s Golden Beat Studios – with Patrick once again teaming up with Andrew Schubert who produced Boys Forever.

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

"EIGHTIES LADIES"

This vocal ensemble comprised Denie Corbett, Marva Hicks, Susan Beaubian, Sylvia Striplin and Vivian Prince. In 1979 Denie had recorded a disco solo single “What You Won’t Do For Love” and was featured lead with group Station Break on another disco release “Be What You Are. Marva Hicks had recorded a debut solo single “Looking Over My Shoulder” in 1978 and would later infiltrate the modern soul world with “One Good Reason” from her 1991 self-titled debut and only solo album.

Vivian Prince recorded a boogie track “Gotta Get A Hold On You” in 1982 and of course Sylvia recorded a solo project “Give Me Your Love”, which was also reissued by 'Expansion' for 'Uno Melodic'.
As Eighties Ladies; they are best known for “Turned On To You”.

- Produced by the legendary: Roy Ayers.

Classic album from Italian post-rock collective port-royal pressed on vinyl the first time....180gm transparent blue 2LP w/download.

Flares was the debut album from Genoa post-rock quintet port-royal. The album was initially released in 2005 by the quality-minded UK indie label Resonant Recordings.

Flares has become a watermark of the more contemporary amalgam of ambient, electronica and post-rock. And, is considered a classic of the genre.

Spintink Music stylistically name-dropped Eno and Explosions in the Sky when describing Flares. Tiny Mix Tapes commented that Flares "reveal(s) moments of unde-niable brilliance." and Exclaim! remarked, "this music is both inherently simple while being intricately complex and deserves to be placed in your stereo." "Intoxicating," "rewarding," and "masterpiece" are just some of the adjectives used to describe Flares upon its release.

To commemorate the album's 15th anniversary, port-royal have teamed up with their current partner of ten years, the Oakland based n5MD, to bring you Flares on vinyl for the first time. Remastered and remixed explicitly for vinyl from the original stems. Flares 15th-anniversary edition will be out March 27th on double 180-gram trans-parent blue vinyl.

Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

Royal Torrence aka ‘Little Royal’, was the half brother of the legendary James Brown as they reportedly shared the same father and were close bothers throughout their adult lives. Both singers shared a vocal talent that drew music lovers to them. Little Royal grew a following in soul music from the 60's and 70's and made waves with the hit ‘Jealous’ in 1972 reaching #15 in R&B chart. ‘Razor Blade’ is also another highlight that created a mini dance craze and has since been sampled by Ice-T and J Dilla.

"No Secrets" - Carly Simon (voc, g, p); Jimmy Ryan (g,b); Bobby Keys (ts); Lowell George (g); Kirby Johnson (el-p); Peter Robinson (p); Bill Payne (org); Klaus Voorman (b); Andy Newmark, Jim Keltner (dr); a.o. & orchestra & backing vocals.

Carly Simon’s unquestionably best album, "No Secrets", was also her commercial breakthrough. It topped the Billboard charts for over five weeks, thus quickly gaining gold status, as did the single release of "You’re So Vain".

This song determined the album’s flippant tone, with its sexually unashamed autobiography (»You had me several years ago/When I was still quite naïve«) and its observations on the lifestyle of the jet set. But Simon’s sincerity also meant that her lyricism was double-edged. Now that she thinks she has found true love, she expresses her joy over her relationship to James Taylor with "The Right Thing To Do", another top ten hit.

On the other hand she was just as willing to recognize her own mistakes and regretted pointing her finger at other people. It was not just Simon’s frankness that made the album a success, but also Richard Perry’s simple, elegant pop-rock production, which lent Simon’s music a vitality it never known before.

Perry was mindful in particular of Simon’s vocals, making them more perceptive and stirring than in her other productions. And of course her fellow musicians, such as Paul and Linda McCartney, Mick Jagger, Klaus Voormann, Lowell George, Bobby Keys, Jim Keltner as well as her ex-husband James Taylor all contributed to the success of the album, which was awarded official platinum status by the Recording Industry Association of America.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.
All royalties and mechanical rights have been paid.
Recording: September-October, 1972 at Trident Studios, London by Robin Geoffrey Cable. Production: Richard Perry.