8 remixes from Robert Glasper Experiment’s Artscience – remixed by Kaytranada and Glasper. It will also include a feature from Talib Kweli. The 12” vinyl EP will only be released in the US, UK, & Canada as a RSD special.
8 remixes from Robert Glasper Experiment’s Artscience – remixed by Kaytranada and Glasper. It will also include a feature from Talib Kweli. The 12” vinyl EP will only be released in the US, UK, & Canada as a RSD special.
Early mixes from the Leave Home album, previously avaialble on disc 2 of the 40th Anniversary Edition Deluxe Box. First time on vinyl! Tracklisting: 1. Glad To See You Go, 2. Gimme Gimme Shock Treatment. 3. I Remember You, 4. Oh Oh I Love Her So, 5. Carbona Not Glue, 6. Suzy Is A headbanger, 7. Pinhead, 7. Now I Wanna Be A Good Boy, 8. Swallow My Pride, 9. What's Your Game, 10. California Sun, 11. Commando, 12. You're Gonna Kill That Girl, 13. You Should Never have Opened That Door, 14. Babysitter.
Exclusive remix 2LP of the shoegaze pioneer’s first album in over 20 years, Weather Diaries, released in 2017 on Wichita Recordings to mass critical acclaim. The Remix's have been put together with love and care by fans and friends of the band, from Mogwai too Cavern of Anti-Matter, especially for Record Store Day.
STAFF COMMENTSAndy says: A deep, meandering, country rock double album, with some stunning guitar interplay.
FORMAT INFORMATION2xLP Info: Double US import 180g vinyl in a beautiful embossed gatefold sleeve.
Produced by Adams, the first news of this reinterpretation of 1989 was revealed last month on Instagram with the post "Taylor Swift 1989 full album cover night 1. As played by the Smiths.” Several subsequent posts of song snippets revealed much more range than that—including a take on “Bad Blood” that VANITY FAIR called "a lovely Heartbreaker-era style version” referencing Adams’ classic debut, a string quartet-enhanced version of “Blank Space,” what Adams promised to be the “guaranteed saddest version of 'Welcome to New York' ever - or your tears back,” and more.
STAFF COMMENTSAndy says: This is brilliant! Superb pop songs but taken by Rynads and done in the style of Bruce Springsteen's "Nebraska" re-imagined by The Smiths!? Well that's what Ryan said, anyway! Who else would do such a thing?
FORMAT INFORMATIONLtd LP Info: US import audiophile pressing 180 gram vinyl.
STAFF COMMENTSAndy says: Incredible , heroic debut. Possibly his finest hour.
FORMAT INFORMATION4xLtd LP Info: Includes DVD.
STAFF COMMENTSAndy says: Most people would say this was Ryan Adams' finest hour. Includes the classic "Come Pick Me Up".
STAFF COMMENTSAndy says: RyNads returns with a belter! A whole, Glyn Johns produced, mellow LP was shelved (hence the long gestation) for this self-made effort. Ryan says it's a truer reflection of where he's at right now.
FORMAT INFORMATIONLP Info: Vinyl limited to 2500 copies.
LP includes MP3 Download Code.
EXCLUSIVE TO INDIES!
No, it isn’t a cover of the Ronettes classic of the same name, but it’s "A song to one’s baby, whom they love - a unique twist on Ryan Adams’ classic recipe, with key ingredient ‘sad’ replaced by ‘happy,’” according to the press release.
STAFF COMMENTSAndy says: Massive ringing, descending chords and a yearning, killer melody make this RynAds' most heartfelt and direct single in a long time.
FORMAT INFORMATIONLtd 7" Info: Indies exclusive pink coloured 7". Limited to just 750 copies.
On new album Prisoner, Ryan said: "I was reflecting on the different states of desire and what it means to be a prisoner of your own desire… I felt like I had been robbed of... the most valuable thing in a person's life…Time."
The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4. During that run, Adams toured the world, recorded and released both his Live at Carnegie Hall collection and full-album cover of Taylor Swift's 1989, and saw the aforementioned Ryan Adams garner two Grammy nominations - Best Rock Song for "Gimme Something Good" and Best Rock Album.
STAFF COMMENTSAndy says: A "break-up album" but don't run away! Beautifully poetic lyrics and top tunes put this right up there with RynAd's very best work. Smiths meets Boss in a lonesome bedroom on a lonely highway!
FORMAT INFORMATIONColoured LP Info: Limited indies only Red Vinyl edition.
Ryan Adams' 'Ten Songs from Live at Carnegie Hall' is comprised of live selections from Adams' two night stint at the celebrated New York City venue. The career spanning set includes fan favorite 'New York, New York,' plus new mainstays from Ryan's most recent Grammy nominated eponymous album like 'Gimme Something Good'.
STAFF COMMENTSAndy says: Just Ryan and his guitar. Perfect.
FORMAT INFORMATIONCD Info: Standard jewel-cased CD (with 12 page colour booklet).
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time. All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.
Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma. Following up his 2014 archival collection 'An Evolutionary Music (Original Recordings 1972 - 1979)', Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, 'We Know Each Other Somehow' shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.
FORMAT INFORMATION2xLP Info: LP+DVD.
2xLP includes MP3 Download Code.
"Black Ruby", the brilliant second LP from this marvelous soulsinger first appeared on the Zodiac label in 1972. Just one minor nationally charted hit came off the LP. But as a whole it is even more revered than her hit-laden predecessor among soul aficionado’s. It’s considered an exemplary classic of a deep- and Chicago-soul album.
The music has re-appeared some times in one form or another but the LP was never before fully reissued on high quality vinyl! A true gem indeed.
Featuring ten new songs, all of which were written by Ashcroft, ‘Natural Rebel’ was produced by the singer-songwriter alongside Jon Kelly (Paul McCartney, Kate Bush) and Emre Ramazanoglu, Bobby Gillespie). The majority of its recording took place at State of the Ark Studios in Richmond, with further sessions at The Bunker, Tileyard Studios and Hoxa HQ.
FORMAT INFORMATIONColoured LP Info: RSD stores exclusive Orange vinyl edition.
Riccardo is one of the hot kids of the new Italian house scene. Only 23 years - he is already one of the main figures in Italy. Touring as a support DJ with Kim Ann Foxman (who is a closed friend and supporter), Azari & II, Munk, Ben Pearce, Gesaffelstein. Ricardo has the potential to become a real rockstar in the electronic bizness. Living the vida loca between night life and bedroom producing. 'The Message EP' is his debut. Inspired by 90s UK garage, Voguing, New York (where he has spent some time), Marshall Jefferson, Kevin Saunderson and soul music. Deep, funky, great. This is Ricardo's start - there is a lot more to follow.
Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a run of just one-thousand copies, with limited distribution, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true disco masterpiece and deservedly demanding extortionate figures to those lucky enough to find their own.
Here, in collaboration with Randolph, Kalita Records offer the four in-demand tracks from the album: ‘Getting Next To You’, ‘Jazzman’, ‘Callin’ Me’ and ‘Party Life’. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and “everyone on the same level… in other words, everyone just loving life”. It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. ‘Jazzman’ is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. ‘Callin’ Me’ is a soulful disco number featuring the lead vocals of Laurie Erickson and is “about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry”. Lastly, ‘Party Life’ is a joyous disco track with a strong funk bassline and horns. Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.
STAFF COMMENTSPatrick says: Flirty and frisky feel good disco here from Kalita who go deep on a digging mission to reissue one of the rarest private press gems from Tampa, Florida! Hands in the air time...
Baños, who has previously worked with the film’s director Fede Alvarez on the remake of ‘Evil Dead’, has crafted a truly unforgettable score combining harrowing atmospheric textures with sudden plunges into faster paced, pounding passages: a contrast executed with a unique and modern perspective.
Baños’ score is reminiscent of works by composers such as Brian Reitzell (‘Hannibal’, ‘30 Days Of Night’) and Gustavo Santaolalla (‘The Last Of Us’), whilst still maintaining his own unique style heard in previous works such as in ‘The Machinist’ and ‘Evil Dead’.
‘Don’t Breathe’ received the highest box office results in 2016 on its opening weekend and was rated the biggest film in the US upon its release.
This release is housed in a gatefold sleeve and comes complete with double sided printed inner which features additional artwork and credits.
FORMAT INFORMATIONColoured LP Info: Orange coloured vinyl.
In the spirit of that wholehearted approach, Ray Barbee has ventured into uncharted waters with his latest release, Tiara For Computer , a synth-anchored album from a man known for his expressive, solo guitar work . “I’ve always been intrigued with synthesis,” Barbee clarifies. “All of it: the wave form, the shapes, the modulation sources. I’ve played guitar long enough that I’ve got a vocabulary. But what I get the most excited about with synthesis is being free from music and the idea of not knowing what I’m doing ... the excitement of not having a vocabulary.”
The development of Tiara ’s synthetic base also proved to be the perfect excuse to enlist drummer John Herndon (Tortoise, Isotope 217, 5ive Style). “Johnny moved to LA a few years back” Barbee explains, “and in the back of my head, I’ve always wanted to do some kind of project where I could come a little closer to where he ‘lives.’” So along side bassist Josh Lippi ( The Overtimers, Blktop Project), engineer Monte Vallier (Tommy Guerrero, Mattson 2, Swell), and with beacon-light producer Thomas Campbell running point, they set about their shared journey of dubbing, remixing, and accompanying Barbee’s time drifting, out-of-tune Korg MS-20 synthesizer .While the end result of Tiara carries the greater-than sum of its veteran parts, it’s also the product of another unexplained synthesis—a kind of leap of faith. Barbee remembers thinking, “‘I’m going for this and I don’t know what I’m doing.’ But I realized that enthusiasm and excitement can outweigh not knowing. There’s a window ... It only happens once when you’re endeavoring in something new. There’s this small window where you function on 80% enthusiasm and excitement, and 20% technique. There’s something special when you sit in that place.”
Dylan LeBlanc joined the Luck family at the 2016 event and even though his set was rained out in the chapel he brought his amazing band over to the barn and played a short set for our storm weathering friends in the barn as they waited for it to pass. You can see glimpses of his ELO cover and more on our social feed. When we were putting this project together we knew with Dylan's masterful musicianship and and songwriting, not to mention friends and band The Pollies, something special would come from it.. and it definitely did. Dylan invited friend and another vocal and musical powerhouse, Rayland Baxter to join him. We had no idea what we were in for. When the two of them sat down in the parlor we knew at 1st strum and stroke of the cello from Courtney Blackwell that something magical was happening. You could hear a pin drop as they took us on a journey through their two songs. Enough said...
“I packed everything in my van and moved to Franklin for three months,” says Baxter. “It was the fist time I ever got to be alone and focus solely on songs like that. All I did was write, write, write all day every day. I was obsessed.”
By the time Baxter emerged, he’d penned more than 50 tunes and crafted a detailed blueprint for his spectacular new album, ‘Wide Awake.’ Deftly produced by Butch Walker, the record infuses Baxter’s easygoing, soulful sound with British Invasion melodies and rock and roll swagger, marrying lean, muscular songwriting with adventurous, inventive arrangements. It’s a cutting, insightful collection, one that takes a sardonic view the violence, greed, and division that seem to define the modern American landscape. Rather than point a finger, though, the music holds up a mirror, offering a sober reflection of the times thoughtfully bundled in bright, infectious hooks. There’s no judgment here, only keen observation, and Baxter implicates himself as much as his neighbor through it all.
“This is an album about decision making,” he explains. “It’s about being a human at the crossroads. Do I do good or do I do evil? Do I lie or do I tell the truth? Am I going to be happy or am I going to be sad? All of these questions and emotions are things I see in myself, and they’re the same things I see in everyone else no matter where I go.”
Baxter’s built a career on capturing those sorts of timeless, deeply human sentiments, bringing colorful characters to vivid life with equal parts humor and pathos. His debut album, ‘feathers & fishhooks,’ was a critical hit praised by Interview for its “well-worn maturity,” while NPR described “Yellow Eyes,” the lead single from his 2015 follow-up, ‘Imaginary Man,’ as “close-to-perfect.” Stereogum dubbed the record “an impeccable sophomore break-out,” and Rolling Stone hailed its pairing of “whimsical narrative with often deceptively complex arrangements.” The music earned Baxter festival appearances from Bonnaroo to Newport Folk in addition to tours with an astonishing array of artists, including Jason Isbell, The Lumineers, Kacey Musgraves, The Head and The Heart, Shakey Graves, Lauryn Hill, and Grace Potter.
“The six months leading up to the release of ‘Imaginary Man,’ that was the first time I really started playing electric guitar and performing with a band,” says Baxter. “We did my first headline run and toured that album for a year-and-a-half, and the experience really opened up this whole new sound for me. It helped me figure out more of who I was as an artist and a songwriter and a traveler and a human being.”
It was with that newfound sense of self that Baxter entered Thunder Sound, the abandoned rubber band factory-turned-studio in the cornfields of Kentucky that would become his home for three months of intensive soul searching and songwriting.
“I blanketed the windows so no one could see inside,” he explains. “I laid a mattress down next to an old Wurlitzer so I had somewhere to sleep. I had a guitar, a desk with a lamp and some paper and pencils, and that was it. For fifteen hours a day, I wrote.”
When it came time to record his mountain of new songs, Baxter relocated to Santa Monica, California, where he wrangled an all-star studio band that included Dr. Dog’s Erick Slick on drums, Butch Walker on bass, Cage The Elephant’s Nick Bockrath on guitar, and piano wizard Aaron Embry (Elliott Smith, Brian Eno) on keys. A producer and artist equally at home working with massive pop stars and indie stalwarts, Walker immediately embraced Baxter’s vision for the album, and the result is a sunny and altogether charming collection. Scratch beneath the surface, though, and you’ll find it’s populated by a cast of characters who project a vision of the good life as they struggle to keep it all together behind closed doors. On the punchy ‘Casanova,’ the singer reckons with debts he knows he’ll never be able to repay, while the volatile “Amelia Baker” charts the narrator’s descent into near-madness as he pines for a starlet perpetually out of reach.
“We have this society where we’re obsessed with celebrity and living on the top of the mountain,” says Baxter. “But what’s at the top? Maybe it’s a lonely place to wake up.”
Late 2016 was a particular tumultuous time in the country, and though Baxter did his best to isolate himself from the outside world while he wrote, it was inevitable that some of the chaos would seep in. On album opener “Strange American Dream,” a chiming piano and spare Motown groove give way to lush harmonies and unexpected melodic twists as Baxter sings, “I close my eyes and realize that I’m alive inside this strange American dream.” Meanwhile, the soaring “79 Shiny Revolvers” finds him reflecting, “you really wanna save the world, man / well, I wanna save it, too / we can blow ’em away / the American way.”
While ‘Wide Awake’ offers plenty of broad, wide-angle musings, some of its most arresting moments arrive bundled inside deeply personal memories and snapshots. The heartfelt “Everything To Me” is a tender tribute to family (Baxter’s father Bucky, who played pedal steel with Bob Dylan and Ryan Adams among others, contributes to the record), and the laidback “Let It All Go Man” is a reminder that there’s beauty in simply being alive.
“I actually started that song two years ago on a trip to South America,” says Baxter. “I was sitting on the porch of a house in this little town in Colombia, and I was all alone playing a gut string classical guitar, just staring out at the ocean and the beach in the middle of the night. It made me realize how much unnecessary stuff we hold on to, all the grinding away we do chasing success and money and missing the big picture. It made me realize what an incredibly beautiful gift it is to be human.”
That empty South American beach may have been a world away from the rubber band factory in Kentucky, but for Baxter, the effect was the same. The solitude offered a chance to observe, to reflect, to grow, to appreciate, and most importantly, to write.
STAFF COMMENTSAndy says: Effortlessly melodic pop craftsmanship in a Southern/ West Coast easy stylee. This is the perfect album for the summer.
FORMAT INFORMATIONLP Info: Orange coloured vinyl.
LP includes MP3 Download Code.
“Almost entirely recorded in a day, and featuring cello, saxophone and drums in addition to electronics, Albidaya doesn’t attempt to replicate Lebanese folk music. Instead, it articulates a point of contact between various worlds.” Rory Gibb for the Wire
The angular, abstract funk of Renick Bell’s Empty Lake EP for Lee Gamble’s UIQ is perhaps exactly what you might expect from a pioneer of algoraves - a forward-looking union of live coding and rave music that’s currently taking computer boffins out of the studio/bedroom and placing them in real, physical spaces to hear what happens.
To date, beyond the live algoraves, Bell’s music has mostly been contained in his chaotic Fractal Beats series on soundcloud and thoroughly unpackaged in academic papers on live coding and pragmatic aesthetic theory. With the Empty Lake EP he offers a refinement of the ideas in Fractal Beats, skilfully teasing out a tangle of post techno pulses, shards of catty ballroom house, hardcore kuduro and filigree footwork patterns twisted into shimmering, convulsive contours and unstable, scattered melodies.
In an obvious sense, his sound is heavily compatible with the recent Lanark Artefax 12” on UIQ and certainly finds sympathies with Lee Gamble’s most obtuse aspects, but it also feels more feral, overgrown that either of those artists’ work in a way that relishes his software’s capacity for creating wild new junctures of sound that effectively re-program his and our brains in real time while we’re listening.
From the elasticated, recoiling swang of Trying To Control The Four Winds to the Patten-like melt of The Well and the fluctuating states of Surface Waters Flow Together, there’s a level of detail to these tracks which will become apparent on first listen, and which will continue to baffle your sense of proprioception, meter and tone for long after the moment.
STAFF COMMENTSBarry says: A fractured and surly collection of forward-facing electronic abstractions and glassine synthetic reflections. Machine-gun kicks and bouncing-ball synths blaze around the stereo field, leaving a wake of scorched foundations and gaseous atmospheres. A Triumphant and frenetic outing, packed with pent-up energy and riotous intent.
STAFF COMMENTSPatrick says: Ovular rock our world with a much needed reissue of THE Indian disco holy grail, Rupa's magnificent "Disco Jazz". An East meets West affair, the LP combines Rupa's echoing vocals with slick disco grooves, spacey synths and all kinds of strung out psychedelia resulting in a cosmic bomb for the most enlightened of listeners. It's a must have!
With several other record labels now expressing interest and a new management deal on the cards, Bloodjoy kicked off 2016 recording songs for his intended first 12" release. The tracks were then mixed alongside renowned engineer, Tim G, at BigTone Studio in Manchester. Bloodjoy first show of the year saw him invited to play as main support to Singapore Sling and main appearances at the Coastival Festival in Scarborough, followed by a second appearance at Cosmosis in March (on a bill with the likes of the Jesus & Mary Chain and BJM) are all paving the way to european dates to be announced for late Spring and Summer. Includes digital download with bonus track. Credits: Songs written & performed by Rhys Bloodjoy. Mixed at 2fly Studios by Dave Sanderson. Mastered by Sonic Boom at New Atlantis Studio. Artwork by Briony.
“What a vapor trail of music; very groovy to see folks finally catching up to this head. Dawn of a new vibration out of his occult pedigree in so many spaced out earth objects (Death Chants / Aswara / Von Himmel / Mendocino). Bookstaber also logged golden hours with Time-Lag and that deep scene. The beginning of an ear and golden spirit juice. Mined private press vision with his own Azriel and Humito imprints, shucked handmades—there’s also his groove and howl with the wolfpack in the MV / EE axis. Oxide, preserves and records…Rafi hummed the music of maidens. Iron Maiden this is not, shipbuilding it sails, four sail and many years ago I was there, so was Rafi’s fi. You dig, apache? Find some wampum, blow a journey, be here now for Late Summer eternal…” - Matt “MV” Valentine.
In Brown’s first audition, in 1949, she sang “So Long,” which ended up becoming a hit. This was followed by “Teardrops from My Eyes” in 1950. Written by Rudy Toombs, it was the first upbeat major hit for Brown. It was Billboard’s R&B number one for 11 weeks. The hit earned her the nickname “Miss Rhythm” and within a few months Brown became the acknowledged queen of R&B.
Ruth Brown Rock & Roll is an album featuring tracks recorded between 1949 and 1956.
FORMAT INFORMATIONLtd LP Info: 180-gram vinyl pressed at Quality Record Pressings (QRP). Vinyl housed in an old-school style tip-on jacket
FORMAT INFORMATION2xCD Info: Includes a bonus CD containing 11 bonus tracks of radio sessions, live performances, and original recordings of songs that appeared on future releases.
Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.
Includes a foreward by Andrew Weatherall.
FORMAT INFORMATIONHardback Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.
Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!
A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee’s La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.
STAFF COMMENTSPatrick says: Les Shadocks are a new one to me, but a cursory listen and glance over the sales notes suggests a definite Clangers vibe, mais en Francais. That's right, an interplanetary animation soundtrack from the home of musique concrete - totally bonkers in the most charming way.
FORMAT INFORMATIONDeluxe LP Info: Collector’s VINYL Edition ( LP+ 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker.
Not quite blues, not quite bluegrass, not quite ambient, Cooder’s haunting, evocative score mirrors the existential journey of Harry Dean Stanton’s Travis Henderson as he wanders through the empty Texas prairie landscape in pursuit of his irretrievable past. With the able help of multi-instrumentalists David Lindley and Jim Dickinson, Cooder crafts a soundscape (much of it based on Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground”) that is profoundly sad yet leavened with bits of humor and whimsy.
Featured on the cover next to Robert Coyne is Jaki Liebezeit, the legendary Can drummer and percussionist, who has collaborated with the son of the British multitalent Kevin Coyne on this latest 12-track offering. Supported by Liebezeit's subtle, yet incisive drumming, the simplicity and intimacy of Coyne's lyricism, together with his mellifluous and sophisticated vocals, combine to conjure a compelling and evocative sound. A fascinating and highly successful experiment.
Jaki Liebezeit is a drummer probably best known as a founding member of Can who has been called "one of the few drummers to convincingly meld the funky and the cerebral". ,,In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European Free Jazz.
He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine".
In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. Recently, he has worked with Burnt Friedman on the Secret Rhythms albums and with Schiller on the Atemlos album.
John Paul White and Rodney Crowell performed Crowell’s “The Girl On The Street” as well as one of three original tunes penned for the Luck Mansion Sessions, “Don’t Think That I Can’t Feel You When You’re Gone.” About the new song, John Paul White says, “It’s the first song we attempted to write.. It gave us both an excuse to sit down and write a song. It was literally the only times we’ve ever played those songs. We didn’t rehearse them ahead of time, we didn’t work out harmony parts and guitar parts… you pretty much captured all of that process.”
“Don’t Think That I Can’t Feel You When You’re Gone” is White and Crowell’s first co-write, but not the first collaboration for the pair. White joined Rosanne Cash on vocals for the song “It Ain’t Over Yet” off Crowell’s 2017 release Close Ties (New West). The song and the record have been nominated by the American Music Association in the categories of Song and Album of the Year.
Rachael Dadd is a contemporary folk singer and multi-instrumentalist based in Bristol, England and on the Japanese island of Mukaishima. She is married to Japanese experimental musician ICHI, with whom she also regularly performs, live and on record. Rachael debuted in 2004 with the album ‘Summer/Autumn Recordings’. The album was followed by a string of releases on labels like Broken Sound, Talitres, and Japanese labels Angel’s Egg and Sweetdreams Press. Over the years, Rachael has played festivals like Glastonbury, End of The Road, Green Man, Wilderness and No Direction Home and toured the UK, Europe and Japan several times, alone or with acts like This Is The Kit, Rozi Plain and Alessi’s Ark. Besides as a singer/songwriter/multi-instrumentalist, Dadd, who is a graduate from art school, is also a practicing and exhibiting artist.
Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music hall tunesmithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback.
His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.
New album ‘Nothing Important’, released by Weird World, hypnotises from its tender dark whispers to its wild screams, an unparalleled voice in today’s over-preened and manufactured music world.
FORMAT INFORMATIONLP includes MP3 Download Code.
Six acapella odes of between 4 and 13 minutes in length, plus a rendering of Mike Waterson’s ‘The Brisk Lad’, interspersed with a series of brief instrumental vignettes, Dawson’s guitar sparring with the electric harp of Rhodri Davies for strictly spontaneous 60-second blasts.
This album paved the way for its successor, ‘Nothing Important’, that saw features on Richard from The Wire (cover feature), Mojo, Uncut, The Guardian, The Quietus and more, as well as several 5 star live reviews from The Guardian.
FORMAT INFORMATION2xLP includes MP3 Download Code.
No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important - or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work.
Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance.
Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?” The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital.
Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person - surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?
I wanted to create whole tones without de-tuning and keep access to the complex sounds stock tuning provided.” Rick pressed 500 copies of his tranquil solo guitar record, Gentle Wilderness, in 1978 on Niodrara Records, and sold many at performances and directly to music shops who would pay for them. He gave copies to various libraries and left a few albums in the middle of the wilderness, next to trails, “so people would find them.” Rick sought inspiration in nature and in particular the various rivers scattered around the Western United States, often composing songs seated beside them —and even occasionally perched on boulders in them. He never played the songs the same way twice and did two passes on each composition in studio. Rick would sometimes literally come straight out of the mountains and rush to the studio to record the ideas he’d gathered. "Missy Christa" was recorded at Mount Olympus studio in Hollywood and was named after Rick’s daughter; it was originally composed right next to the Big Sur River where he had been camping. Rick currently resides in Los Angeles, “still strumming, waiting for the other shoe to drop.”
A collection of some of Doyle’s earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve), this patchwork 1975 debut long player draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers.
Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state of the art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland’s leading and most versatile contemporary composers.
The album, self-recorded and self-produced in a duplex in LA’s Highland Park and in a quiet cabin in Big Bear, is a collection of ten diverse tracks spanning the last three years. She played every instrument on the record, including guitar, piano, drums, bass, cello, and glockenspiel.
“The making of it was kind of my recovery from all the stuff,” says Edwards, who worked again with producer Rob Schnapf (Elliott Smith, Beck) in L.A. “I went back and wasn’t as sick, so making the second one, and finishing it, was a much, much more joyous event.” Verdugo features 10 new songs that showcase Edwards’ considerable and longstanding talent as a writer, and also a new way of singing: Edwards’ chronic pain meant finding a vocal approach that didn’t make him feel like throwing up. “I sing in a half-falsetto high range that came out of not being able to belt stuff out for a year,” Edwards says. His new vocal style deepens the air of melancholy on the atmospheric “Strange,” takes on a wistful cast on “Beekeeper” over subtle drums and a distinctive guitar part, and is lifted aloft on a soaring blend of guitars, drums and backing vocals on “Minefield.” “They kind of disappear in this weird sky sonically now, because of this range,” he says.
“They don’t feel rooted anymore, they fly all over, and that falsetto — if you’re looking at it as a picture, it goes higher up in the room than it used to.” This is Edwards’ second solo album after more than a decade leading the Indianapolis band Margot & the Nuclear So and So’s, which he founded in 2004. When health problems made touring with Margot impossible, Edwards turned inward and began writing songs “loosely inspired by all one learns, and fails to learn, while dealing with one’s own mortality,” as he wrote in a piece for Talkhouse. Verdugo is completely Edwards, the result of an agonizing stretch of dissolution and, over time, regeneration. Best of all, it’s not an end point, but merely the next station on a continuing journey. “It’s somewhere between that last record and what will happen after that, and what was going to happen before,” he says. “It comes from three years of having to get really quiet, and figure out what grows out of that.”
FORMAT INFORMATIONColoured LP Info: Limited red vinyl.
Coloured LP includes MP3 Download Code.
LP package features include the complete score available on vinyl for the very first time, composer liner notes by Richard Einhorn, director liner notes by Ken Wiederhorn, heavyweight old style tip-on gatefold jackets, "Sea Foam Green" colored vinyl, all new album artwork by Marc Schoenbach of Sadist Art Designs, and center label art by Ghoulish Gary Pullin.
FORMAT INFORMATIONColoured LP Info: Sea Foam Green Colored Vinyl.
Heavyweight Old Style Tip-On Gatefold Jacket.
LP includes 8-pg booklet, download card for full album, and bonus 7" (with tracks 13-16 from the CD)
CD includes 32-pg booklet
Rare / unseen archive photos and ephemera
By 1986, Roky Erickson’s career had endured twists, turns and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don’t Slander Me showed off his rock ‘n’ roll sensibilities. But Erickson was difficult to manage – and patience was running out. "I‘d given up after the second album,” Erickson’s then-manager, Craig Luckin, has said. “I had enough.”
Yet a third album – arguably his best – was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson’s solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don’t Slander Me (LITA 098).
The core member of 13th Floor Elevators, and an undisputed pioneer of psychedelic rock, Erickson struck big with the howling single ‘You’re Gonna Miss Me’. “Any kid that played music in the Houston area would tell you the Elevators ruled,” says Erickson’s future drummer Freddie Krc in the liner notes. “Unlike the West Coast groups, they were our band.” But Erickson’s ‘60s dream came to an abrupt end when he was caught with a single marijuana joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment.
Released from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation. He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. It wasn’t just the sound that had changed: Roky’s lyrics spoke of vampires, demons, beasts and even presidents – his ‘Song To Abe Lincoln’.
Collected here, the odds and ends of Erickson’s post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled ‘Anthem (I Promise)’. The span of time is great – from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don’t Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul’s punk club in Austin after he’d returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson’s recording career. Following reissues of The Evil One and Don’t Slander Me, Gremlins is now brought back to life by Light In The Attic Records. This is a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. Don’t let it pass you by.
Electri_City is the oral account of the city's most influential bands, including Kraftwerk, NEU!, DAF, Die Krupps and many more. This history uncovers the myths and reality of the bands emerging from the artistic backdrop of a wealthy, modern, post-WWII German city; the conditions that fostered such a creative explosion.
Interviews include Daniel Miller (Mute Records), Paul Humphreys and Andy McCluskey (OMD), Martyn Ware (Human League), Glenn Gregory (Heaven 17), Rusty Egan (Visage) Ryuichi Sakamoto and producer, Giorgio Moroder.
In Grant & I, the reader is given a front-row seat at the sessions that produced an incredibly prolific and diverse song catalogue. Just as The Go-Betweens were like no other music group, so this book is like no other music memoir. It is wise and witty, poignant, insightful, self-deprecating and knowledgeable. Robert Forster is as natural a storyteller and prose writer as he is a songwriter, and Grant & I is an unforgettable ride.
STAFF COMMENTSLaura says: It took me a while to get around to reading this, but once I started, I couldn't put it down! Although I'm a fan of their music ("Cattle & Cane" is one of my favourite songs of all time) I know very little about the story of The Go-betweens, and it's a great story. As you'd expect, this is a beautifully written and wonderfully evocative tale of friendship and the highs and lows of being in a 'rock'n'roll' band from the end of the 70's, through the rise of indie in the 80's, and beyond. You don't have to be a fan of the band to enjoy this book either, it's just a really enjoyable read, but anyone who grew up in love with Postcard Records, the early days of Rough Trade Records and 80s indie with particularly will love it.
FORMAT INFORMATIONHardback Book Info: Limited Signed Edition!
Originally staged March 22, 1961, as part of a double bill choreographed by George Balanchine, the experimental New York City Ballet production Electronics included the renowned dancers Violette Verdy and Jacques d’Amboise (pictured on the front of this album) and a revolutionary score by multi-disciplined composer Remy Gassmann using a truly unique instrument. Working alongside German born keyboard composer and close acquaintance Oskar Sala (with whom he had studied in Berlin under Paul Hindemith), Gassmann was given access and assistance to the latest developments of the Trautonium, an early electronic keyboard that was first exhibited in 1930 by inventor Adolf Trautwein and three pianists (including Sala).
Being one of the original exponents of the machine, Sala (with Trautwein’s blessing) took the basic model of a neon tube oscillator and wire frequency controller (which provided an untempered continuous tonal range) and spent over twenty years developing what would become the Konzerttrautonium (as used by Roichard Strauss to emulate synthetic gongs), followed by the microtonal Mixturtrautonium and eventually the static Studiotrautonium which formed the centrepiece of his own studio in Berlin-Charlottenburg where electronics was composed and realised. For the 1961 ballet, dressed in metal- lic bodysuits with geometric diodic motifs, Verdy and d’Amboise (alongside a small troupe of other dancers) performed the concise eleven-part ballet to polarised but predominantly positive audiences, generating a new outlook on experimental dance and supporting the similar sensibilities of other choreographers such as Alwin Nikolais, Yvonne Georgi (with Henk Badings) and Maurice Béjart (with Pierre Henry). As one of the first American performances drawing primarily on European developments, the modest critical success of the project would open new avenues for the electronic musical duo who were commissioned later in the year by Alfred J. Hitchcock Productions to provide enhanced and versatile sound effects emulating cacophonic bird sounds alongside Bernard Hermann for the 1963 blockbuster The Birds.
FORMAT INFORMATION10" LP includes MP3 Download Code.
"Build From Wax" is the first part of their sample-based series, which covers field recording and fragments from the past, reconstructed to the future by the tools of drum machines and analog warmth, with the classical flavour of techno and house era.
Nilla rocks again.
In "Emotional Music" we are treated to Girardin’s tooling of the synthesizer as a spiritual instrument, one where the typical motifs of musicality and style degrade in favor of poetic modulation matrices and breath controlled hopefuls. Synthesizers occupy a special place in sonic energy, dependent on electricity for physical sound creation, void of voice without human intellect and touch. "Emotional Music" is a synthesis of both the human and synthesizer’s expressive logics; one of internal architectures capable only through external inlets and outlets.
R. Girardin is a Hollywood location scout living in Los Angeles. Recent work includes contributions to the score of Invernomuto’s film "Vers L'Europa Deserta, Terra Incognita", and lectures on the aesthetics of decentered spatiality in Southern California at ECAL in Lausanne, Switzerland and UC Irvine. Girardin has previously released music on Italian label Hundebiss.
The artwork features a cover photo by Girardin and blind drawings by artist Roee Rosen.
"I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art." Realizing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project. "I am living in the spirit of Miles when I am doing what I'm doing because I am documenting my time period. I'm documenting what's around me. I'm documenting who I am now, where music is now," says Glasper. "That's what this project is about. I wanted to do something where we can take some of Miles' ideas, shake them up, and try to show the influence of Miles and make new things. And that's the beauty of this whole album. The whole project is based on Miles, but it is based on Miles' vision, it's based on Miles' trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on Miles' influence, it's based on Miles' swag."
Originally trained as a classical cellist, Grippe had relocated to Paris in the early 70’s to study at the famous Groupe de Recherches Musicales (more commonly known as GRM) founded by musique concrète pioneers Pierre Schaeffer, Pierre Henry and Jacques Poullin. Around the same time, Grippe had struck up a close friendship with French avant-garde minimalist Luc Ferrari. It was under Ferrari’s direction and guidance that the young Grippe started to build a shared experimental music studio, aptly named l’Atelier de la Libération Musicale (ALM), in which Ferrari shared his knowledge and instrumental supplies, thus forging Grippe’s implementation of harmonic tone within the confines of musique concrete.
After a brief stint of electronic music study at McGill University in Montreal, Grippe returned to Paris in 1976 to compose with Ferrari at the now fully-realized ALM studio. One of the visiting artists passing through the creative epicenter of the Cité Internationale des Arts during this time was the painter Viswanadhan Velu. Velu’s recent works consisted of various Sand paintings which were to be exhibited at the Galerie Shandar, the avant-garde art gallery and home to the Shandar record label which was the home to minimalist composers Terry Riley, La Monte Young, Cecil Taylor and Charlemagne Palestine.
Grippe was asked to compose a composition that was to be played during the Sand painting exhibition and was then to be released on the Shandar imprint in 1977. This release would be the first official album that would start Grippe’s career as a modern avant-garde composer and electronic musician. After a celebrated release, “Sand” has since been out-of-print on its original vinyl format for four decades and original copies fetch high prices amongst minimalist listeners and collectors.
FORMAT INFORMATIONLtd LP Info: New pressing on randomly packed blue or black vinyl.
Ltd LP includes MP3 Download Code.
Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.
During the late 1970’s, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works ͞Restes͟ and ͞Tamis͟, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled ͞Orchestra.͟
After debuting ͞Orchestra͟ in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls ͞needed to be tuned and calibrated every 20-30 minutes.͟ He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece ͞Ci-Déla͟ which debuted in Paris in 1981.Symphonic Songsshowcased Grippe’s sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs’ voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.
FORMAT INFORMATIONColoured LP Info: Clear vinyl.
In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.
This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.
Passion For Vinyl is written by Dutch author, music journalist and incurable vinyl fanatic Robert Haagsma. With an introduction by American vinyl guru Michael Fremer.
FORMAT INFORMATIONHardback Book Info: 240 page hardback book. Individually numbered, with free 7” single
Ron Hall & The Mothafunkaz Feat Mark Evans
The Way You Love Me - Inc. Dimitri From Paris / Tom Moulton Remixes)
"The major event on the record, One of 'Those Days In England', is a collection of reminiscences. The legend of Excalibur in the first line. The last of the willow leaves at the top of the tree hanging on into January. 'Alfred had me made', the words written in anglo-saxon around the Alfred Jewel. More precisely 'AElfred mec heht gewyrcan' Alfred ordered me to be made. The Alfred Jewel is housed in the Ashmolean Museum at Oxford (England) and I visit it regularly when I can for emotional sustenance. In the light of the events of his lifetime, Alfred must not only be considered as the founder of the British Navy, but more importantly as the founder of the English language. Had it not been for Alfred's victory over the Danes in the late ninth century, it would perhaps be conceivable that one fifth of the world's population would now be speaking some kind of Danish dialect. I really love this album. It's always been one of my real favourites. I've always thought that the long version of 'One Of Those Days In England' is a touchstone of my long affair with my own culture. All in all, the album has the pastoral feel of the nature of my life at the time. Having said that, it also has a lovelorn edge in 'Cherishing The Lonesome' and angst in 'Naked Flame'. There's also sufficient reference to the nature of the times in lines such as 'You and me sister we're gonna plant a bomb in a street to change law and order', and 'You and me brother wrapped up in silence brooding for better breathing spaces'; both of which unfortunately still seem set to demand attention in global culture for the foreseeable future. Perhaps the reason I always think of it as a gentler album is the subtle ushering in of the realisations embodied in 'These Last Days', which are not so much resignation to a certain maturity as recognition that negotiation in life is paramount to community." - Roy Harper
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
The highlights of the record are one, Chris Spedding's guitar solo on 'The Game,' which was a first take and is a wonderful piece of spontaneous Rock and Roll. He played it on a tiny amp in the middle of the empty aircraft hanger sized Studio 1, at Abbey Road, a studio built for a 100 piece orchestra and opera cast. He was dressed in a white suit with a red carnation and was in and out of the studio within 20 minutes! And two, the great lift that the Grimethorpe Colliery (brass) Band gave to the David Bedford arrangement of 'When an Old Cricketer Leaves the Crease.' It was recorded in the same studio and there were about 50 musicians in the studio that day.
My childhood memories of the heroic stature of the footballers and cricketers of the day invoke the sounds that went along with them. Paramount among these was the traditional Northern English brass band, which was a functional social component through all four seasons, being seen and heard in many different contexts. My use of that style of music on 'Old Cricketer' is a tribute to those distant memories. Finally, not least among the highlights is the third verse of the lyric of 'The Spirit Lives.' A poem of mine that I really enjoy. I always look back on HQ as a great album made at one of the best times of my life." - Roy Harper
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
Original cover art with additional printed heavy inner sleeve including extra notes and images.
Artwork redesign by Harry Pearce.
Roy Harper’s music can be best defined as progressive folk, but as his work is so varied there are many instances where his music transgressed these genre confinements.
He worked alongside greats like Jimmy Page of Led Zeppelin, David Gilmour of Pink Floyd, The Nice, Kate Bush and Ian Anderson of Jethro Tull. Roy Harper is also recognized for his vocal contribution on “Have A Cigar”, the third track on Pink Floyd’s 1975 album Wish You Were Here.
FORMAT INFORMATIONLP Info: 180g audiophile vinyl re-issue of his debut folk rock album.
STAFF COMMENTSAndy says: Includes the incredible tracks "Highway Blues" and "South Africa".
Black 7" vinyl. Exclusive tracks on 7" from the soundtrack to the acclaimed British film 'Funny Cow', starring Maxine Peake and with original Richard Hawley soundtrack. Richard also appears in the movie.
STAFF COMMENTSMartin says: Inevitably lovely music from a thoroughly lovely chap. A clear nod in the direction of Lee Hazlewood, Scott Walker and Roy Orbison, but shot through a distinctly northern English lens; the tales are touching, nostalgic and sentimental, the mood is of a man lost in life and love. 'Ocean' is an aching, gorgeous highlight, as is the sublime drift of the gorgeous 'Last Orders' which closes the album.
64 NEW ITEMS
Various ArtistsManchester North Of England - A Story Of Independent Music Greater Manchester 1977-1993
145 NEW ITEMS
Donny HathawayI Love You More Than You'll Ever Know (Timmy Regisford & Joaquin Joe Claussell Unofficial Edits & Overdubs)
Wed 12th - 11:51
Tue 11th - 5:56
Tue 11th - 5:34
Tue 11th - 4:36