Streng limitierte Neuveröffentlichung auf gelbem Vinyl des Debüt-Albums der australischen Indierock-Legenden Crime & The City Solution. Nach der EP 'The Dangling Man' und der Mini-LP 'Just South of Heaven' wurde das Album ursprünglich 1986 veröffentlicht und enthielt auch die "Londoner Formation". Das Album enthält das bemerkenswerte 'Six Bells Chime', das die Aufmerksamkeit des gefeierten deutschen Filmemachers Wim Wenders erregte, der die Band einlud, den Song in seinem 1988 erschienenen Meisterwerk Wings of Desire live aufzuführen. Das Album zeigt eine große Kreativität voller Spannung und markiert die letzte Veröffentlichung mit der Londoner Besetzung von Crime.
Buscar:wings
- A1: Don't Stop The Show
- A2: I Do Rock'n'roll
- A3: Another 45 Miles
- A4: Long Blond Animal
- B1: When The Lady Smiles
- B2: Liquid Soul
- B3: Twilight Zone
- C1: Going To The Run
- C2: Vanilla Queen
- C3: Hold Me Now
- D1: Say When
- D2: The Devil Made Me Do It
- D3: Johnny Make Believe
- E1: Rinus On Bass
- E2: Radar Love Part 1
- E3: Cesar On Drums
- E4: Radar Love Part 2
- F1: She Flies On Strange Wings
- F2: Legalize Telepathy
2024 Reissue
Limited Clear w/ Silver Splatter vinyl. 15 years after the band's debut album was release, Sargent House is set to do a special anniversary re-issue with updated artwork and limited-edition clear w/ silver splatter vinyl with Silver/Red foil jacket available. Upcoming tour dates include multiple festival appearances and a UK/EU headline tour in August. 12th Nottingham Rescue Rooms, 13th Manchester Gorilla, 14th London Underworld, 15th Bristol ArcTanGent. For Fans of Fu Manchu / Melvins. This the debut is being repressed. Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense.
Once upon a time, DJ’s were like soaring eagles, they would spread their musical wings and fly high to wherever they wanted to go musically. It wasn’t uncommon to hear hip house and go go played alongside disco and funk, or techno being dropped on either side of something a lil’ mo’ soulful. Then the DJ’s wings were clipped and clubs became musical cages for the more adventurous DJ’s, clubs evolved into one-dimensional musical prisons and beats bubbles. Unconventionally, Marcus McGowan hails from South Carolina, and it would be fair to argue that South Carolina is a bit of a house music wasteland? Perhaps it’s this simple geographical blip that has nurtured McGowan into creating a sound that can’t be affiliated to any particular city, cities such as Detroit that is generally associated with techno, Washington is the undisputed town of go go, or Chicago, which is renowned for acid house, hip house, and jackin’ house, and of course, New Jersey is the spiritual home of soulful house. What McGowan has created is a fresh, new vibe that appears to be crossing many musical boundaries and the test pressing mailout appears to have united music lovers from numerous genres of house music AND techno alike, with its deep, techy, jazzy, soulful, sweet and melliferous flavoured vibe. Luke Una boasted that “it’s the record of the year so far”, MFSB’s Yogi Haughton called it a “classic in the making”, but all said and done, the test pressing feedback from the handful that were passed out to music lovers around the U.K. is unanimous, it’s jus’ a frikin’ solid double hitter that can’t be pigeon-holed. This is a record for majestic, soaring DJ’s and music lovers, not scabby, common or garden Columbidae garbage foragers. It’s a slice of intellectual music that will perch McGowan very high up in the producer pecking order!
David Fridlund rose from the ruins of his ruined life in the USA, where he ended up 10 years ago, when his band David & the Citizens split up. But a reunion gig with Citizens turned his life around and with new air under his wings he returned to Sweden to live in Gothenburg today. In a creative rush created by the emotional and physical journey back to Sweden, he wrote a number of emotional power pop songs, now in Swedish. Through an acquaintance he got in touch with Daniel, who recruited David and Mathias to the band and they were all affected by the power that a pop song can give. The band Ior was founded
Black Vinyl[23,32 €]
Clean Hands Go Foul (2009) generously offers more of everything: voluminous drones, clashing dissonance, mysterious subharmonic swells, escalating terror, and environments drenched in heavy anticipatory dread. The final hour of the band's first decade sees Khanate, as always, making "music that, even in the realm of extreme music, is dark and distorted" (Pitchfork). Clean Hands Go Foul would be followed by the ultimate minimalism, as the Khanate entity sat shrouded in silence until the release of 2023's To Be Cruel.
- 1: Static On The Radio – 6:3
- 2: Bluebird – 5:9
- 3: Combing My Hair In A Brand New Style – 6:24
- 4: That Girl From Brownsville Texas – 6:22
- 5: Borrowed Wings – 4:34
- 6: If Jesus Drove A Motor Home – 4:3
- 7: Objects In Motion – 5:58
- 8: Buzzards Of Love – 7:00
- 9: Alabama Chrome – 4:25
- 10: Phone Booth In Heaven – 7:09
- 11: Land Called Home – 4
- 12: Suckerz Promisez – 5:58*
- 13: Stranger Candy – 7:25*
- 14: Cinderblock Walls – 5:27*
20th anniversary of Jim White’s haunting outer space alt.country classic that has a title so long nobody can remember the name of it. Featuring Aimee Mann, M. Ward, Bill Frisell and the Barenaked Ladies. Now it’s on vinyl for the first time, pressed on Substrate Black in a gatefold jacket plus three additional bonus tracks
Black Vinyl[25,17 €]
The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.
White Vinyl
Loved is the third album by the British band Cranes, released in 1994. Elements of alternative rock, shoegaze, dream-pop and darkwave are mixed in their attractive music. Their gothic elements made a return, while they retained the feeling of their previous album Forever. It was another artistic experience, with nicely orchestrated and constructed songs. Loved gives the title all the credits, as it is an album which shows most of their feelings and emotions.
Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.
Available as a limited pressing of 1000 individually numbered copies on blue marbled (transparent blue & gold mixed) coloured vinyl and the package includes an insert.
- A1: Creature's Love Theme
- A2: The Murder
- A3: I Can See Clearly Now - Performed By Isabella Summers & Elise Mcqueen
- A4: Strange - Performed By Galaxie 500
- A5: Lisa Meets The Creature
- A6: Sad Lisa
- A7: The Creature's Worm
- A8: Special Socks
- A9: Is It Peaceful Down There?
- A10: The Ear
- A11: The Creature Rises
- A12: The Hand
- A13: Shall We Dance?
- B1: The Creature's Requiem
- B2: Principal’s Office
- B3: Michael’s House
- B4: On The Wings Of Love - Performed By Jeffrey Osborne
- B5: Wave Of Mutilation (Uk Surf) - Performed By Pixies
- B6: Can't Fight This Feeling - Performed By Jojo
- B7: Death Is Temporary
- B8: The Fire
- B9: Love In Flames
- B10: I'll Call You Mine - Performed By The Zombies
Mutant präsentiert den OST zur US-Horrorkomödie LISA FRANKENSTEIN (2024). Zelda Williams' Filmdebüt kitschig und bissig und zelebriert auf gewagte Weise eine Vintage-Attitüde, unterlegt mit einer einzigartigen Playlist aus Post-Punk-/Alternative-Highlights (Pixies, Galaxie 500), modernen Coverversionen von Klassikern ("I Can See Cleary Now", "Can't Fight That Feeling") und einem unglaublichen Score von Isabella Summers (Florence & The Machine), die mit inspirierten Synths, Streichern und Keyboards sowohl das Monströse als auch das Wunderbare feiert. Rotes Vinyl mit exklusiven Linernotes von Drehbuchautor und Oscar-Gewinner Diablo Cody.
The 12 songs that constitute Dreams, the third full-length from the Kaohsiung trio Elephant Gym, explore the deep spacetime continuum that consciousness cannot capture. Beyond the trio’s staple instrumentation of guitar, bass, and drumset, Dreams blends in wind instruments, traditional drums, and Taiwanese narrative. Through collaboration with Hakka singer-songwriter Lin Sheng Xiang and pop musician 9m88, notable for their accomplishments in jazz, soul, and R&B, Dreams is a sweeping narrative about a fantastical dream that crosses the boundary. After pressing play, please do close your eyes, and enjoy the dream
Party Pest features ex-The Reprobettes members Jemma Jives (drums & vox) and Sally Balhorn (guitar & vox) alongside bass player Julia Watt (Moody Beaches, La Bastard, Hot Wings) and Kate Alexander on synth (Ute Root, The Hot Blood). Unpredictable and chaotic, Party Pest is influenced by artists such as The Slits, ESG, Kleenex, The Cure and The B52's. On Uninvited, Party Pest channel post-punk irreverence, blending discordant melodies, jangly guitar hooks, wild primal drumbeats, big bold bass grooves and synthesised sonic mayhem into a celebration of life as they know it. Anything can and does happen when Party Pest play so strap in for a wild ride whether you're invited or not. When the glitter settles, the Ajax's been snorted and your Mum's been pashed, wipe the love dust from your eyes and check your bathtub.
- A1: Conversation Intercom
- A2: Saturday
- A3: When Logics Die
- A4: Much Against Everyone's Advice
- A5: Overweight Karate Kid
- B1: Proverbial Pants
- B2: The Salty Knowledge Of Tears
- B3: Flying Without Wings
- B4: More Than This
- C1: Too Many Djs
- C2: Temptingly Yours
- C3: My Cruel Joke
- C4: Scream
- C5: Funny
- D1: Conversation Intercom (Vocoder Intermix)
- D2: Mike Rule Joe Cream Mix Feat. Tracy Bonham
- D3: Saturday (Rory Manning Mix)
Neuauflage von Soulwax bahnbrechenden Album 'Much Against Everyone’s Advice' als Doppel-LP. Die belgischen Electronic-Pioniere haben 1998 durch die Vermischung von Rock, Dance und Electronica eine faszinierende Klanglandschaft geschaffen, die zeitlos ist und eine dynamische Energie hat, die noch heute ihresgleichen sucht. Für langjährige Fans als auch für Neueinsteiger ein Muss!
Die beiden vorherigen Veröffentlichungen von Witch Vomit, "Abhorrent Rapture" und "Buried Deep In A Bottomless Grave", festigten und erhöhten ihre Position als eine der stärksten und direktesten Kapellen des aktuellen US-Death Metals, die gekonntes, kakophonisches Gemetzel bieten. Mit methodisch unerbittlicher Inbrunst und gnadenloser Aggression haben sich Witch Vomit einen formidablen Ruf für brutales Riffing mit Hooks erarbeitet, die so eingängig sind, dass sie Fleisch von Knochen reißen.
Auf dem neuen Album "Funeral Sanctum" erweitern Witch Vomit die dunkle Melodik, die in der Raserei vergangener Veröffentlichungen vergraben war - nun zu schwarzem Obsidian geschliffen und mit der für die Band typischen Brutalität verschmolzen. Die DNA von Tracks wie Blood of Abomination" und Dominion of a Darkened Realm" erinnert nicht an die beschwingten Harmonien, die man im typischen Melodic Death Metal hört, sondern eher an die dämonisch-böse Macht der frühen Dissection, die in gefrorener Dunkelheit glänzt. Die blutgetränkte USDM-Grausamkeit bleibt der verrottete Kern von Witch Vomits Fundament.
Witch Vomits dominante dynamische Entwicklung innerhalb ihres konzentrierten stilistischen Rahmens hat mit "Funeral Sanctum" einen neuen Höhepunkt erreicht. Der intensive Fokus des Albums und der unaufhörliche Riffsturm entfesseln eine Welle blutiger Befriedigung, die sich mit unbarmherziger Eindringlichkeit in die Gehörgänge fräst!
Die beiden vorherigen Veröffentlichungen von Witch Vomit, "Abhorrent Rapture" und "Buried Deep In A Bottomless Grave", festigten und erhöhten ihre Position als eine der stärksten und direktesten Kapellen des aktuellen US-Death Metals, die gekonntes, kakophonisches Gemetzel bieten. Mit methodisch unerbittlicher Inbrunst und gnadenloser Aggression haben sich Witch Vomit einen formidablen Ruf für brutales Riffing mit Hooks erarbeitet, die so eingängig sind, dass sie Fleisch von Knochen reißen.
Auf dem neuen Album "Funeral Sanctum" erweitern Witch Vomit die dunkle Melodik, die in der Raserei vergangener Veröffentlichungen vergraben war - nun zu schwarzem Obsidian geschliffen und mit der für die Band typischen Brutalität verschmolzen. Die DNA von Tracks wie Blood of Abomination" und Dominion of a Darkened Realm" erinnert nicht an die beschwingten Harmonien, die man im typischen Melodic Death Metal hört, sondern eher an die dämonisch-böse Macht der frühen Dissection, die in gefrorener Dunkelheit glänzt. Die blutgetränkte USDM-Grausamkeit bleibt der verrottete Kern von Witch Vomits Fundament.
Witch Vomits dominante dynamische Entwicklung innerhalb ihres konzentrierten stilistischen Rahmens hat mit "Funeral Sanctum" einen neuen Höhepunkt erreicht. Der intensive Fokus des Albums und der unaufhörliche Riffsturm entfesseln eine Welle blutiger Befriedigung, die sich mit unbarmherziger Eindringlichkeit in die Gehörgänge fräst!
Mit dem Album „Nina’s Back“, das erstmals 1985 erschien, macht Verve Records nach „Fodder On My Wings“ von 1982 ein zweites ungewöhnliches Nina-Simone-Album aus den 1980er Jahren wieder erhältlich. „Nina’s Back“ ist Nina Simones Pop-orientiertestes Album, mit Black Music, World Music und sogar Disco-Einflüssen. Bei Puristen hat es daher lange Zeit unterschiedlichen Ruf genossen. Mit heutigen Ohren gehört, ist „Nina’s Back“ jedoch ein packendes Werk, das es vierdient hat wiederentdeckt zu werden, nicht zuletzt wegen einiger großartiger Songs aus der Feder der Musikerin.
Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).
The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’
‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.
Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.
Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).
The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’
‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.
Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.
The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.
The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.
Tyranny and Mutation is the second studio album by American hard rock band Blue Öyster Cult, released on February 11, 1973, by Columbia Records. The album was recorded at the Columbia Studios in New York City during the year before and was produced by Murray Krugman and Sandy Pearlman. On May 12, 1973, the album peaked at #122 on the Billboard 200.
The song “Baby Ice Dog” features lyrics by singer/poet Patti Smith (who was keyboardist Allen Lanier’s girlfriend at the time), who would make several lyrical contributions to the band’s repertoire during its career. The song “The Red & The Black”, with lyrics referencing the Royal Canadian Mounted Police, is a renamed, re-recorded version of “I’m on the Lamb But I Ain’t No Sheep” from the same-titled debut album. The song was later covered by the Minutemen and Band of Susans.
Celebrating its 50th anniversary, Tyranny and Mutation is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.
- Dilltro (Instrumental)
- Fisherman (Instrumental)
- Lovin' U (Instrumental)
- Go And Ask The Dj (Instrumental)
- Jeep Volume (Instrumental)
- Flowers (Instrumental)
- Honk Ya Horn (Instrumental)
- Slippin' (Instrumental)
- Without Wings (Instrumental)
- Beautiful (Instrumental)
- Quicksand (Instrumental)
- Rock My World (Instrumental)
- The Throwaway (Instrumental)
- This Evening (Instrumental)
Focus On Nature ist das neue Studioalbum des gefeierten Post-Psych/Independent Singer-Songwriters Nick Saloman und seiner Band The Bevis Frond. Fünfundsiebzig Minuten herrlicher Melodien, die sich zwischen 60er-Jahre-Psych, englischem Folk, den Seattle Art-Punks The Wipers, dem Buzzsaw-Pop von Dinosaur Jr. und Hendrix-esken Erkundungen bewegen. Ihre Musik hat immer etwas spielerisch Englisches an sich. Die Kult-Ikonen, die sicherlich The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement und Dinosaur Jr. beeinflussten, haben eine weitere schräge Mischung aus melodischer, klaviergeführter Melancholie, akustischen Grübeleien, kratzigem Garagen-Rock mit punkigem Einschlag und voller Gitarren-Histrionik produziert. Wie der viel gelobte und äußerst erfolgreiche Vorgänger "Little Eden" befasst sich die neue Platte mit dem Überdruss der Welt, füllt aber eine größere Leinwand aus: Fast Food und globale Erwärmung, gebrochene Herzen und lange Nächte, alltägliche Unsterblichkeit und Gottes Geschenk - all das findet seinen Platz. Es ist wie Townshend in seiner thematischsten Phase; Big Star in all ihrer akustischen Pracht, perfekt ausbalanciert mit der punkigen Garage-Rock-Combo, die auf "Empty" mit Gilmour-Breaks endet, die das Ganze zur Größe erheben. "Sie mischen immer noch Pop, Punk und Psych mit schwindelerregender Wirkung. The Guardian "Selbstreflexion gepaart mit einer reumütigen Bestandsaufnahme des aktuellen Zustands der Nation." Uncut zu Little Eden - Erhältlich auf Ltd Double Purple Vinyl, DL-Karte und/oder als CD im Digisleeve -
Texas based producer Ben Hixon has been garnering a wide following with his clever old-skool influenced house tracks. The feature track 'ND Fresh', spreads its' wings over the entire A-side. This house builder has the ability to tear the roof of the party. A strong, tribal and urban builder that creates a scene on the dancefloor. With his background as a multi-instrumentalist and recording engineer, you get an interesting and unique approach on rhythm within the house genre. The two B-sides offer up some great material as well. 'As You' is a soulful stunner that gives off strong deep Chicago vibes. 'I Smoke!!' is the banger of the bunch that will send any party into overdrive. It's great to see and hear someone is making such strong house music from the south there in America. Top Notch!
- A1: Dolly Parton - "Jolene" (2 39)
- A2: John Denver - "Take Me Home, Country Roads" (3 12)
- A3: Glen Campbell - "Rhinestone Cowboy" (3 10)
- A4: The Bellamy Brothers - If I Said You Had A Beautiful Body Would You Hold Against Me (3 11)
- A5: Dr Hook - "When You're In Love With A Beautiful Woman" (2 49)
- A6: Kenny Rogers - "Lucille" (3 36)
- A7: Bobbie Gentry - "Ode To Billie Joe" (4 15)
- A8: Crystal Gayle - "Don't It Make My Brown Eyes Blue" (2 34)
- A9: Shania Twain - "You're Still The One" (3 35)
- B1: Lady Antebellum - "Need You Now" (4 12)
- B2: Lee Ann Womack - "I Hope You Dance" (4 12)
- B3: Trisha Yearwood - "How Do I Live" (4 12)
- B4: Mark Chesnutt - "I Don't Want To Miss A Thing" (4 12)
- B5: Keith Whitley - "When You Say Nothing At All" (4 12)
- B6: Lee Greenwood - "The Wind Beneath My Wings" (4 12)
- B7: Lonestar - "Amazed" (Captain Mix) (4 12)
- C1: Linda Ronstadt - "Desperado" (3 33)
- C2: Debby Boone - "You Light Up My Life" (3 31)
- C3: Juice Newton - "Angel Of The Morning" (4 08)
- C4: Anne Murray - "You Needed Me" (3 36)
- C5: Billie Jo Spears - "Blanket On The Ground" (3 31)
- C6: Lynn Anderson - "Rose Garden" (2 52)
- C7: Johnny Cash - "Ring Of Fire" (2 36)
- C8: Roy Orbison - "Blue Bayou" (2 26)
- D4: Chris Stapleton - "You Should Probably Leave" (3 30)
- D5: Lady Antebellum & Stevie Nicks - "Golden" (3 26)
- D6: Little Big Town - "Girl Crush" (3 14)
- D7: Kacey Musgraves - "Rainbow" (3 26)
- D8: Maren Morris - "The Bones" (3 19)
- E1: Dolly Parton & Kenny Rogers - "Islands In The Stream" (3 37)
- E2: The Charlie Daniels Band - "The Devil Went Down To Georgia" (3 37)
- E3: Shania Twain - "Man! I Feel Like A Woman!" (3 37)
- E4: Carrie Underwood - "Before He Cheats" (3 37)
- E5: Mark Ronson - "Nothing Breaks Like A Heart" (Feat Miley Cyrus) (3 37)
- E6: Kylie Minogue - "Dancing" (3 37)
- E7: Leann Rimes - "Blue" (3 37)
- E8: Eric Weissberg & Steve Mandell - "Dueling Banjos" (3 37)
- F1: Olivia Newton-John - "Take Me Home Country Roads
- F2: The Bellamy Brothers - "Let Your Love Flow
- F3: Eddie Rabbitt - "I Love A Rainy Night
- F4: Glen Campbell - "Wichita Lineman
- F5: Charlie Rich - "The Most Beautiful Girl
- F6: Tammy Wynette - "Stand By Your Man
- F7: Crystal Gayle - "Talking In Your Sleep
- F8: John Denver - "Rocky Mountain High
- F9: Willie Nelson - "Always On My Miind
- C9: Patsy Cline - "Crazy" (2 45)
- D1: Luke Combs - "Hurricane" (3 42)
- D2: Keith Urban - "Somebody Like You" (Movie Edit) (3 48)
- D3: Darius Rucker - "Wagon Wheel" (Radio Edit) (3 59)
NOW is proud to present the very best of Country music with NOW That’s What I Call Country. 4 CD’s jam-packed full of the biggest Country hits of all time! With 86 tracks and its mix of classic and modern hits, this collection is essential for any Country music and Pop fan! So, grab yours today, and get ready to enjoy the very best of Country also available on a Coloured Triple LP set with 50 tracks and its mix of classic and modern hits, this collection is essential for any vinyl collection! So, grab yours today, and get ready to enjoy the very best of Country across 3-LPs!
Dauw welcomes back Arovane to the label with his new album Drei Formen. A first edition on glitter tape was given away to the artist and the people we work with, while a second risograph tape edition is now available publicly. With this album the label and artist just want to thank their listeners and followers for their continued support. We hope this music resonates with you and gives some light in these troubled times.
Arovane is the moniker of German based composer and sound-designer Uwe Zahn who’s working in the field of minimal electronica and experimental music. In the late 1990’s his work reached a wider audience through releases on pivotal IDM labels DIN and City Centre Offices. In recent years, he released music on 12k and Puremagnetik and collaborated with Taylor Deupree, Porya Hatami and Synkro among others.
- A1: Giorgio Moroder - Chase (From "Midnight Express")
- A2: Paul Mccartney & Wings - Live And Let Die (From "James Bond Live And Let Die")
- A3: Mick Jagger - Memo From Turner (From "Performance")
- A4: Willie Nelson - Midnight Rider (From "The Electric Horseman")
- A5: Tom Pierson, Galt Macdermot & Original Cast "Hair" - Aquarius (From "Hair")
- A6: Jimmy Cliff - The Harder They Come (From "The Harder They Come")
- A7: Bob Dylan - Knockin' On Heaven's Door (From "Pat Garrett And Billy The Kid")
- A8: Paul Williams - The Hell Of It (From "Phantom Of The Paradise")
- B1: Mike Oldfield - Tubular Bells (From "The Exorcist")
- B2: Isaac Hayes - Theme From "Shaft" (From "Shaft")
- B3: Olivia Newton-John - Hopelessly Devoted To You (From "Grease")
- B4: Jerry Reed - East Bound And Down (From "Smokey And The Bandit")
- B5: Jimmy Helms - Black Joy (From "Black Joy")
- B6: Sylvia Kristel & Orkest Ruud Bos - Hey, A Letter Came Today (From "Naakt Over De Schutting" A.k.a. "Naked Over The Fence")
- B7: Donny Hathaway - Little Ghetto Boy (From "Come Back Charleston Blue")
- B8: Roy Ayers Feat. Dee Dee Bridgewater & Wayne Garfield - Coffy Is The Color (From "Coffy")
- C1: Frankie Valli - Grease (From "Grease")
- C2: Diana Ross - Strange Fruit (From "Lady Sings The Blues")
- C3: Elton John - Pinball Wizard (From "Tommy")
- C4: James Brown Feat. The J.b.'s - The Boss (From "Black Ceasar")
- C5: Pierre Bachelet - Emanuelle (From "Emanuelle")
- C6: Willie Hutch - Theme Of Foxy Brown (From "Foxy Brown")
- C7: Chris Bennett - (Theme From) Midnight Express (From "Midnight Express")
- D1: John Williams & The London Symphony Orchestra - Main Title (From "Star Wars A New Hope")
- D4: Yvonne Elliman - If I Can't Have You (From "Saturday Night Fever")
- D5: Gene Clark - American Dreamer (From "The American Dreamer")
- D6: Rose Royce - Car Wash (From "Car Wash"")
- D7: Michael Jackson - Ben (From "Ben")
- D8: Ramones - Rock 'N' Roll High School (From "Rock 'N' Roll High School")
- D2: Cat Stevens - If You Want To Sing Out, Sing Out (From "Harold And Maude")
- D3: Marvin Gaye - Trouble Man (From "Trouble Man")
70's Movie Hits Collected is a compilation of Coloured Vinyl, High Quality, Insert 33 pop tracks released as 2-LP on 15 Dec 2023. 70's Movie Hits Collected includes a.o. the following tracks: “Giorgio Moroder - Chase (from "midnight Express")”, “Mick Jagger - Memo From Turner (from "performance")”, “Mike Oldfield - Tubular Bells (from "the Exorcist")”, “Isaac Hayes - Theme From "shaft" (from "shaft")” and more.
Harp – das gemeinsame Projekt von Tim Smith (ehemaliger Sänger und Songwriter von Midlake) und seiner Frau Kathi Zung – kündigen ihr Debütalbum "Albion" (via Bella Union) an.
"Es ist nicht das Ziel, es ist die Reise", schrieb schon der amerikanische Philosoph Ralph Waldo Emerson. Doch bei Smith scheint das Gegenteil der Fall zu sein. Der Weg zu "Albion" mag lang und kurvenreich gewesen sein, und holprig obendrein, aber die Musik, die Harp geschaffen hat, ist voller schöner Melodien, Dramatik und Details. Die zehn Songs und zwei zur Stimmung passende Instrumentals werden umrahmt von akustischen und elektrischen Gitarren, sanften Keyboardtönen und Smiths besonderer Stimme; mit anderen Worten, die Quintessenz dessen, was die Leute in erster Linie zu seiner Arbeit mit Midlake hingezogen hat.
Auf dem neuen Album ist alles jedoch in etwas dunkleren Tönen gehalten. Es sind Lieder über den Zustand des Menschen, von verlorener und gefundener Liebe, von Angst bis Freude, von Furcht bis Akzeptanz, alles in eine sehr eigene poetischen Sprache verpackt. "Albion" wurde von Smith größtenteils allein zu Hause aufgenommen, mit Gastbeiträgen des ehemaligen Midlake-Bassisten Paul Alexander bei "Silver Wings" und "Throne Of Amber", E-Gitarren von Max Kinghorn-Mills von der Band
- 1: Dilltro (Featuring Dank)
- 2: Fisherman (Featuring J. Rocc, Vice And Detroit Serious)
- 3: Lovin' U (Featuring Eric Roberson)
- 4: Go And Ask The Dj (Featuring Guilty Simpson And J. Rocc
- 5: Jeep Volume (Featuring T3 And C-Minus)
- 6: Flowers (Featuring Niko Gray, Talib Kweli And Rhettmatic)
- 7: Honk Ya Horn (Featuring J. Pinder)
- 8: Slippin' (Featuring Early Mac)
- 9: Without Wings
- 10: Beautiful (Featuring Posdnuos And Botni Applebum)
- 11: Quicksand (Featuring Common And Dezi Paige)
- 12: Rock My World (Featuring Slimkid3 And Niko Gray)
- 13: The Throwaway
- 14: This Evening
Instrumentals[34,87 €]
KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.
Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.
Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.
Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.
- 1: Dilltro (Featuring Dank)
- 2: Fisherman (Featuring J. Rocc, Vice And Detroit Serious)
- 3: Lovin' U (Featuring Eric Roberson)
- 4: Go And Ask The Dj (Featuring Guilty Simpson And J. Rocc
- 5: Jeep Volume (Featuring T3 And C-Minus)
- 6: Flowers (Featuring Niko Gray, Talib Kweli And Rhettmatic)
- 7: Honk Ya Horn (Featuring J. Pinder)
- 8: Slippin' (Featuring Early Mac)
- 9: Without Wings
- 10: Beautiful (Featuring Posdnuos And Botni Applebum)
- 11: Quicksand (Featuring Common And Dezi Paige)
- 12: Rock My World (Featuring Slimkid3 And Niko Gray)
- 13: The Throwaway
- 14: This Evening
Original[34,87 €]
KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.
Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.
Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.
Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.
Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.
The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.
The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.
It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.
Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.
Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group
- Blackisgod,A Ghetto-Sci-Fi Tribute(_G)
- Smd
- Fk
- We Need Mo Color
- Black!
- Adam X Jalen, Eye Luv U
- Amerikkka, Try No Pork
- Run Pig Run
- Deadmeat
- Myhearthurt
- Chris Dorner
- Nation Tyme
- Homicide/Genocide/Ill Die
- Bebe's Kids, Apollo
- Dirt
- Faceless Wings,Black!
- Blackest Love, Like Paint On Tha Wall
- Steal From The Enemy
- On Fire, Pray!
- Black Be Tha God, Negro
- Blackisinfinite Black Alive! Spirit Shop (Understanding)
- Negro Friday
- Blackz
- Heavy
- Breathe.birth
- G Tribute Live Rehearsal /All My Nxggas Gone Prosper Rehearsal Live
- Fkoffme
- 2: Dirt
- Cointail
- Fkthapolice
- Wakeupnprosper
- Numbers On Yo Head Ft Billy Woods
- Tha Embrace Narrated By Akeema Zane
- Wblbdlnitm : Pray Rehearsal
- Nation Tyme Rehearsal Live
- Nation Tyme Psa
- Wrkouts2Jazzselfdefensealso
- Blackbethagod!!!!!!!(Culture,Freedom.cipher), Psa 4 Tha Folks
- Blackspace
- Stratosphere Status
On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.
Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”
It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.
This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”
In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.
- A1: Whole Lotta Love (1975)
- A2: Acid Queen (1976)
- A3: Root, Toot Undisputable Rock’n Roller (1978)
- A4: Viva La Money (1978)
- A5: Sometimes When We Touch (1979)
- A6: Music Keeps Me Dancin’ (1979)
- B1: Let’s Stay Together (1983)
- B2: Help (Edit) (1984)
- B3: What’s Love Got To Do With It (1984)
- B4: Better Be Good To Me (1984)
- B5: Private Dancer (1984)
- B6: I Can’t Stand The Rain (1985)
- C1: Show Some Respect (1985)
- C2: We Don’t Need Another Hero (Thunderdome) (1985)
- C4: It's Only Love (With Bryan Adams) (1985)
- C5: Typical Male (1986)
- C6: Two People (1986)
- D1: What You Get Is What You See (1987)
- D2: Girls (1987)
- D3: Break Every Rule (1987)
- D4: Paradise Is Here (1987)
- D5: Afterglow (1987)
- E1: Tearing Us Apart (With Eric Clapton)
- E3: One Of The Living (1985)
- E4: Tonight (With David Bowie) (Live In Europe) (1988)
- E5: River Deep, Mountain High (Live In Europe) (1988)
- F1: The Best (Edit) (1989)
- F2: Steamy Windows (1989)
- F3: I Don’t Wanna Lose You (1989)
- F4: Look Me In The Heart (1990)
- F5: Foreign Affair (Edit) (1990)
- G1: Be Tender With Me Baby (1990)
- G2: It Takes Two (With Rod Stewart)
- G3: Nutbush City Limits (The 90’S Version) (1991)
- G4: Love Thing (1991)
- G5: Way Of The World (1991)
- H1: I Want You Near Me (1992)
- H2: I Don’t Wanna Fight (1993)
- H3: Disco Inferno (1993)
- H4: Why Must We Wait Until Tonight? (1993)
- H5: Proud Mary (1993)
- I1: Goldeneye (1995)
- I2: Whatever You Want (1996)
- I3: On Silent Wings (1996)
- I4: Missing You (1996)
- I5: In Your Wildest Dreams (With Barry White) (1996)
- I6: Cose Della Vita (With Eros Ramazzotti)
- J1: When The Heartache Is Over (1999)
- J2: Whatever You Need (2000)
- J3: Open Arms (2004)
- E2: Addicted To Love (Live In Europe) (1988)
- J4: Teach Me Again (With Elisa) (2017)
- J5: What’s Love Got To Do With It (Kygo Remix) (2020)
- J6: Something Beautiful (2023 Version)
- E3: A Change Is Gonna Come (Live In Europe) (1988)
28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.
„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.
Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.
Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“
Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.
Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.
Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.
Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:
„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“








































