ALL GENRES
BACK CATALOGUE - V
The first volume of Initial Record's Worst Label Ever sampler series provides a very useful (and very cheap!) taster for a varied and consistently excellent roster of talent, featuring tracks by such cherished Initial luminaries as Black Cross, Blue Red Sky, Ultimate Fakebook, National Acrobat and Roy; also includes unreleased, vinyl only, live and demo versions of songs from Ink & Dagger, Planes Mistaken For Stars, Criteria, Blood Red and Helicopter Helicopter...
The first in a series of mini compilations exploring instrumental dub versions of sought after and long out of print titles from the world of reggae, disco, boogie and house. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK boogie / Brit funk mix of Tippa Irie’s ‘Panic Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.
STAFF COMMENTS
Matt says: Went criminally under-the-radar first time it was released in 2022. Strangely, volume 2 blew up! I think these five versions are just as hot as that material, so nice that Isle Of Jura have repressed for slow coaches like me who missed it first time round.TRACK LISTING
Glen Adams & Finesse - Sexual Instrumental
Tippa Irie - Panic Panic (Express Mix)
Special Occasion - Yes I Do (12” Instrumental Mix)
Carol Williams - Can’t Get Away (From Your Love) (Special Club Dub Mix)
La Palace De Beaute - Sin (Jura Soundsystem Dub)
Isle Of Jura present ‘Instrumental Dubs #2’, a deep dive into the world of the dub version and beyond. The A side has a distinct boogie feel, starting slow with a George Kerr produced cut from 1984 followed by a Brit Funk-esq instrumental from Harold Melvin & the Bluenotes originally released on the Philly World label (home to ‘Voice of Q’). The B side closes with the ‘Sweeter’ instrumental mix of boogie bomb ‘Loving Sweet Devotion’ by Idiater Edwards.
The B side opens with ‘H2S04’ from Mad Professor that defies categorisation, sitting somewhere between electro, disco and dub. Last but by no means least there’s an uptempo dub mix of Original Rockers' ‘Push Push’ making its first appearance on vinyl having only been on the CD single release first time around.
The B side opens with ‘H2S04’ from Mad Professor that defies categorisation, sitting somewhere between electro, disco and dub. Last but by no means least there’s an uptempo dub mix of Original Rockers' ‘Push Push’ making its first appearance on vinyl having only been on the CD single release first time around.
TRACK LISTING
Tracy Kerr - If U Want My Loving (Dub)
Harold Melvin The Blue Notes - Todays Your Lucky Day (Dub)
Diater Edwards - Loving Sweet Devotion (Sweeter Mix)
Mad Professor - Hs204
Original Rockers - Push Push The Underwater World Of Jah (Couteau Mix)
Various Artists
Intact & Smiling - The Weird & Wonderful World Of Tapete Records Vol. 1
Tapete Records
20 years of Tapete Records - The world has changed a lot in the last 20 years but one detail has remained the same: Tapete still putting out great music. That's a bit reassuring, isn't it? So they thought in their Tapete Building in Hamburg ‘Let's look back and start a series of good, old-fashioned, fantastic label compilations in the style of "Shadow Factory", "Tamla Motown Is Hot! Hot! Hot!" or "Wanna Buy A Bridge?"...something like that. And so here is "Intact & Smiling - The Weird & Wonderful World Of Tapete Records Vol.1". It wasn't that easy to choose 28 out of about 5000 released songs, but what's easy? Therefore a series.
"Intact & Smiling Vol. 1" concentrates on the poppy side of Tapete Records, and features the likes of The Clientele, The Jazz Butcher, The Monochrome Set, Robert Forster, Lloyd Cole, Pete Astor, Comet Gain and a whole heap more.
"Intact & Smiling Vol. 1" concentrates on the poppy side of Tapete Records, and features the likes of The Clientele, The Jazz Butcher, The Monochrome Set, Robert Forster, Lloyd Cole, Pete Astor, Comet Gain and a whole heap more.
TRACK LISTING
01. We Are Muffy – Frosted Candy
02. Martin Carr – The Santa Fe Skyway
03. Jaguwar – Crystal
04. Stereo Total – Cinemascope
05. Simon Love – Joey Ramone
06. The Jazz Butcher – Running On Fumes
07. The Proper Ornaments – Echoes
08. The Momochrome Set – White Lightning
09. Botschaft – Sozialisiert In Der BRD
10. Comet Gain – Mid 8Ts
11. Pete Astor – Water Tower
12. The Clientele – The Neighbour
13. Louis Philippe & The Night Mail – When London Burns
14. Bill Pitchard – Trentham
15. Benjamin Dean Wilson – Sadie And The Fat Man
16. Robert Foster – I’m So Happy For You
17. Elva – Athens
18. Lloyd Cole – Writers Retreat!
19. Die Höchste Eisenbahn – Job
20. Gary Olson – Some Advice
21. The Catenary Wires – Sixteen Again
22. Friedrich Sunlight – Sag Es Erst Morgen
23. Sophisticated Boom Boom – Number One In Radio
24. LAKE – Work With What You Got
25. Davey Woodward And The Winter Orphans – Dylan’s Poster
26. Der Englische Garten – Mitten In Der Nacht
27. Carambolage – Johnny
28. John Howard & The Night Mail – Intact & Smiling
Volume 1 of Munster's in-depth survey of synth music created in Spain during the 1980s. From chart-friendly techno pop to obscure experimental acts, these 20 tracks reflect a fast-moving decade and music scene. TodoTodo, Oviformia SCI, Ultima Emocion, WAQ, Justine, Septimo Sello, Laneas Aereas, MD, Lavabos Iturriaga, Vocoder, Metal y Ca, La Mode, Aviador Dro, Kalashnikov, Tomates Electricos, Metropakt, El Humano Mecano, Disero Corbusier, Los Iniciados, Bola/Banda Electronica.
In the early 80s, futuristic music existed that triumphantly anticipated another musical era for a number of groups that worked on alternative circuits in Spain. Tradition, trajectory and future: these three words sum up a movement that was castrated at birth and sought to bring plurality and nuance to a monolithic cultural scene that was too predictable, commercial and stale.
The musical texture of synth pop, experimental electronic music and the incipient primitivist industrial sound of groups like Esplendor Geométrico or Orfeón Gagarin came up against a lack of social participation that supports a popular and broad-based culture. The living soul of those pioneers was extinguished forever, and now it's time to recover unreservedly the compositions created by these largely misunderstood groups. Both volumes of "Interferencias" seek to do their bit in the odyssey to disseminate rarities from the Spanish musical heritage dating from the 80s, when the dictatorship was over.
In this era, there was a conflict between those who wanted to break with the past and those who preferred designer camouflage. In this second volume of "Interferencias" we continue to explore the interest and attraction of the new sounds back then, which were a kind of pressing need for these embryonic gurus of techno pop, who held on tight to their next-generation instruments as if they were symbols of the post-Francoist advance party. These bands appeared in the middle of the transition to democracy, a strange small breakaway movement, but popular with the minorities on the margins of the dominant and official artistic system. This new movement was anointed by one key idea, namely, moving beyond the discrimination surrounding the use of synthesizers in order to recreate emotions. Adopting a modern attitude, they hung out outside major record label circles but keeping an eye on the media, which was already putting their music out there, exemplified by their sporadic appearances on television programmes such as Musical Express or La Edad de Oro. The dynamism of these groups who were dominated by foreign musical aesthetics was clear to see.
"Interferencias" closes this analytical search for our synthetic and minimalist musical heritage; adopting a respectful, historically accurate, heterodox and undogmatic approach. These sounds embody the perplexity, paradox and confusion of those years, which disconcerted audiences through the use of innovative musical language and discourse and provoked a lack of understanding and enthusiasm in equal measure. Thanks to some of the groups included on this collection we can discover a universe brimming with stimuli and meaning, living matter capable of releasing the energy needed to breathe new life into us and supply us with substance in order to reinterpret and understand the world of popular music from the last few decades.
There's a lot to reclaim, or better said, to explore, in this parallel history of underground mystery that has been hidden for the vast majority of people and which, for various reasons, was deprived of becoming the true electronic pop germ sown in Spain with talent and rebellion. Nevertheless, this music did reach completely uncharted territories for thousands of young people at that time.
Sometimes the most beautiful song is sung in a language we're not familiar with, and this is also true of sounds. For this reason, I invite you to enjoy and engage by listening to this "feast" where the most succulent sonic delicacies are not necessarily laid out in front of us on the table. "Interferencias" is a wonderful soundtrack that guides us down the back streets of memory and oblivion, mindful that memories can sometimes be worth their weight in gold.
Sergio Sánchez.
The musical texture of synth pop, experimental electronic music and the incipient primitivist industrial sound of groups like Esplendor Geométrico or Orfeón Gagarin came up against a lack of social participation that supports a popular and broad-based culture. The living soul of those pioneers was extinguished forever, and now it's time to recover unreservedly the compositions created by these largely misunderstood groups. Both volumes of "Interferencias" seek to do their bit in the odyssey to disseminate rarities from the Spanish musical heritage dating from the 80s, when the dictatorship was over.
In this era, there was a conflict between those who wanted to break with the past and those who preferred designer camouflage. In this second volume of "Interferencias" we continue to explore the interest and attraction of the new sounds back then, which were a kind of pressing need for these embryonic gurus of techno pop, who held on tight to their next-generation instruments as if they were symbols of the post-Francoist advance party. These bands appeared in the middle of the transition to democracy, a strange small breakaway movement, but popular with the minorities on the margins of the dominant and official artistic system. This new movement was anointed by one key idea, namely, moving beyond the discrimination surrounding the use of synthesizers in order to recreate emotions. Adopting a modern attitude, they hung out outside major record label circles but keeping an eye on the media, which was already putting their music out there, exemplified by their sporadic appearances on television programmes such as Musical Express or La Edad de Oro. The dynamism of these groups who were dominated by foreign musical aesthetics was clear to see.
"Interferencias" closes this analytical search for our synthetic and minimalist musical heritage; adopting a respectful, historically accurate, heterodox and undogmatic approach. These sounds embody the perplexity, paradox and confusion of those years, which disconcerted audiences through the use of innovative musical language and discourse and provoked a lack of understanding and enthusiasm in equal measure. Thanks to some of the groups included on this collection we can discover a universe brimming with stimuli and meaning, living matter capable of releasing the energy needed to breathe new life into us and supply us with substance in order to reinterpret and understand the world of popular music from the last few decades.
There's a lot to reclaim, or better said, to explore, in this parallel history of underground mystery that has been hidden for the vast majority of people and which, for various reasons, was deprived of becoming the true electronic pop germ sown in Spain with talent and rebellion. Nevertheless, this music did reach completely uncharted territories for thousands of young people at that time.
Sometimes the most beautiful song is sung in a language we're not familiar with, and this is also true of sounds. For this reason, I invite you to enjoy and engage by listening to this "feast" where the most succulent sonic delicacies are not necessarily laid out in front of us on the table. "Interferencias" is a wonderful soundtrack that guides us down the back streets of memory and oblivion, mindful that memories can sometimes be worth their weight in gold.
Sergio Sánchez.
TRACK LISTING
1. La Canción Del Metrónomo (Teléfono Rojo) - MUZAK
2. La Fuga - DIAGONAL
3. Óxido - TV SOVIÉTICA
4. Teatro Sucio - ORFEÓN GAGARIN
5. Horno Fundidor - ESPLENDOR GEOMÉTRICO
6. Teoría Del Contacto - LOGOTIPO
7. Camino A Venus - JAN
8. La Espía Que Me Amó - CLAUSTROFOBIA
9. De Picnic - DE PICNIC
10. Deja De Lamentarte - FANZINE
11. Déjame Ahora Dormir - Q
12. Kopek - DEMIAN
13. Ciudad Estelar - FLASH CERO
14. Francotirador - FLÁCIDOS LUNES
15. MS 20 - BETTY TROUPE
16. Television - MANÍA
17. Adiós - MINUIT POLONIA
18. Esto No Es Broma - HEROICA
19. Blonde Venus - V GENERACIÓN
20. Programa-1 – PROGRAMA
Volume I on a New Light Sounds Dark two part compilation, plunging further into the occult and mystery frequencies. A terrifying front cover lending insight at what black magik lays instore for the listening ritual. As usual, LSD procure sounds from completely unheard of seams, the resulting witch's cauldron of musical mayhem likely to challenge even the highest order sonic shamans.
Limited copies, won't hang around long!
Limited copies, won't hang around long!
STAFF COMMENTS
Matt says: This might be the scariest edition of Light Sounds Dark we've ever had. From the occultist demon charging at you on the sleeve to the cauldron of gurgling electronix and sonic witchcraft contained on the black magik wax; it's a hauntingly arresting journey from our astral planing spirit guides. Confront your inner shadow and book a meeting with the cosmic serpent!
Volume II of a new Light Sounds Dark two part compilation plunging further into the occult and mystery frequencies. A terrifying front cover lending insight at what black magik lays instore for the listening ritual. As usual, LSD procure sounds from completely unheard of seams, the resulting witch's cauldron of musical mayhem likely to challenge even the highest order sonic shamans.
Limited copies, won't hang around long!
Limited copies, won't hang around long!
STAFF COMMENTS
Matt says: This might be the scariest edition of Light Sounds Dark we've ever had. From the occultist demon charging at you on the sleeve to the cauldron of gurgling electronix and sonic witchcraft contained on the black magik wax; it's a hauntingly arresting journey from our astral planing spirit guides. Confront your inner shadow and book a meeting with the cosmic serpent!
Kevin Martin (aka The Bug / King Midas Sound) and Stuart Baker (Soul Jazz Records) have put together a unique project bringing together new, exclusive and in demand digital music by electronic futurists Harmonic 313, Diplo, Roots Manuva, South Rakkas Crew,The Bug and more, alongside a killer selection of Jamaican digital and electronic scientific dub and dancehall. Exclusive new tracks and mixes by Harmonic 313, Stereotyp, Federation; in demand tracks from the likes of Roots Manuva, Diplo and South Rakkas Crew; the toughest digital and twisted rhythms from legendary producers King Jammy, Steely and Clevie, Sly Dunbar, Prince Jazzbo, King Tubby, Firehouse Crew and more all feature on this unique release.
The double album comes in special edition heavyweight deluxe hardcover 2CD card casing complete with a deluxe graphic novel by Italian comic book designer Paolo Parisi (whose books include subjects as diverse as John Coltrane and Chernobyl). This specially commissioned graphic novel is a science fiction vision of the future of digital music, featuring King Tubby, Steely & Clevie, Jammy, Jazzbo, complete with Alien Sound Lord Abductors, Aural Freedom Fighters and Digi-Dub Voyagers.
The double album comes in special edition heavyweight deluxe hardcover 2CD card casing complete with a deluxe graphic novel by Italian comic book designer Paolo Parisi (whose books include subjects as diverse as John Coltrane and Chernobyl). This specially commissioned graphic novel is a science fiction vision of the future of digital music, featuring King Tubby, Steely & Clevie, Jammy, Jazzbo, complete with Alien Sound Lord Abductors, Aural Freedom Fighters and Digi-Dub Voyagers.
TRACK LISTING
CD ONE:
1. Steely & Clevie ‘Streetsweeper’
2. Lenky & Sly ‘Now Thing’
3. Ricky Ranking Ft. Roots Manuva ‘Doogoo Dub’
4. Dave Kelly ‘The Return’
5. Annex Crew ‘Summerbounce’
6. Federation Sound ‘Flatlands (Brooklyn Dub Mix)’
7. Lenky ‘Diwali Riddim’
8. Team Shadatek ‘Yoga Riddim’
9. Stereotyp Ft. Alley Cat ‘Modern Times’
10. The Grynch Ft. Tippa Irie ‘Electro Agony In Dub’
11. Fira ‘Hummer Version’
12. Diplo ‘Diplo Rhythm’
13. Harmonic 313 ‘Bazooka Riddim’
14. Ward 21 Productions ‘Pit Bull’
15. Redlight ‘M.D.M.A’.
16. The Bug ‘Aktion Dub’
CD TWO:
1. Fat Eyes ‘Clothes Pin Rhythm’
2. Steven Ventura 4 Kings Of Kings ‘Throw Your Hands Up Version’
3. Sly Dunbar And Christopher Birch ‘Corners Boy’
4. David Jahson ‘King Of Kings Dub’
5. Fat Eyes ‘Steel Plate’
6. South Rakkas Crew ‘Red Alert’
7. Parara And McCoy ‘Them Can’t Hold Yuh Gal Version’
8. King Tubby ‘Fat Thing Version’
9. World Beat ‘Gold Mine’
10. Andre ‘Suku’ Gray (Jammys) ‘Sign Rhythm’
11. Henfield And Shadowman ‘Babatunde’
12. Firehouse Crew ‘No False Hair’
13. Computer Paul ‘World Talk’
14. Fat Eyes ‘Overdose’
15. Prince Jazzbo ‘Great Stone Version’
16. Kickin’ Productions ‘What You Gonna Do’
17. Pliers (Bonner Productions)’ I’m Your Man Dub’
18. Wiz Kidz ‘Team In My Heart Version’
19. Jammys ‘Jam 2’ James (Jammys) ‘Peenie Peenie’
If you've already checked out the Salem, Zola Jesus, Balam Acab and OoOOo releases, plus the "F*>K Dance, Let's Art" compilation you'll already be aware of the whole 'witch house', 'ghost step' and 'drag' sound that's been eminating from (mostly) America this year. These new genres combines elements of electronica, industrial, hip-hop, goth and shoegaze, with fractured beats, eerie, melancholic vocals and layers of doomy synth noise all combining to bring us a new sound for 2010. In association with Disaro Records, "Isvolt" features nine acts from across America, Europe and Australia, all of whom have previously only released on ultra-low run, self distributed CD-Rs or DVD-R / VHS or sold out 45s. Dark and murky, like the damp walls in and unfinished cellar, these acts will, as my nanna might have said, give you the willies.
TRACK LISTING
1. †‡† (Ritualzz) - Misery Walk
2. Party Trash - Sky Clad
3. Fostercare - Cold Light
4. //TENSE// - Versus Man
5. Modern Witch - Your Life A Movie
6. Mater Suspiria Vision - Ritualz Of The Crack Witches
7. Horse MacGyver- Nod
8. White Ring - IxC999
9. Raw Moans - Nectarine
In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time.
Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021.
This double album is released with colourful inners within a wide spine sleeve. This collection of songs is the definitive indie Christmas album and includes contributions from a broad spectrum of indie giants, with songs ranging from traditional standards to originals written specially for this collection. This compilation contains both ballads and songs to pogo around the Christmas tree to in equal measure and coincidentally is a compilation of twenty-one songs re-released after twenty-one years.
The highlights are Low’s much-loved ‘Just Like Christmas’, The Flaming Lips and their ‘White Christmas (demo for Tom Waits)’, the Grandaddy track which is both wistful and amusing and Eels’ ‘Everything’s Gonna Be Cool This Christmas’. In fact there is not a second-rate filler on this album and there’s even a track from Lauren Laverne recorded before she became a famous DJ. The original intention of creating this album was to raise money for a worthy charity. War Child is an amazing organisation that protects, educates and helps children get over the terrible traumas they’ve suffered from war. The work done in their programmes has alife-saving impact on children and their families in some of the most dangerous places on earth.
Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021.
This double album is released with colourful inners within a wide spine sleeve. This collection of songs is the definitive indie Christmas album and includes contributions from a broad spectrum of indie giants, with songs ranging from traditional standards to originals written specially for this collection. This compilation contains both ballads and songs to pogo around the Christmas tree to in equal measure and coincidentally is a compilation of twenty-one songs re-released after twenty-one years.
The highlights are Low’s much-loved ‘Just Like Christmas’, The Flaming Lips and their ‘White Christmas (demo for Tom Waits)’, the Grandaddy track which is both wistful and amusing and Eels’ ‘Everything’s Gonna Be Cool This Christmas’. In fact there is not a second-rate filler on this album and there’s even a track from Lauren Laverne recorded before she became a famous DJ. The original intention of creating this album was to raise money for a worthy charity. War Child is an amazing organisation that protects, educates and helps children get over the terrible traumas they’ve suffered from war. The work done in their programmes has alife-saving impact on children and their families in some of the most dangerous places on earth.
TRACK LISTING
A1. Grandaddy - Alan Parsons In A Winter Wonderland
A2. The Dandy Warhols - Little Drummer Boy
A3. The Webb Brothers - Every Day Is Christmas
A4. Eels - Everything’S Gonna Be Cool This Christmas
A5. El Vez - Feliz Navi-Nada
A6. Morgan - Christmas In Waikiki
B1. Drugstore - Maybe At Christmas Time
B2. Belle And Sebastian - O Come, O Come Emmanuel
B3. Giant Sand - Thank You Dreaded Black Ice, Thank You
B4. The Flaming Lips - White Christmas (Demo For Tom Waits)
B5. Saint Etienne - My Christmas Prayer
C1. Departure Lounge - Christmas Downer
C2. Six By Seven - I Believe In Father Christmas
C3. Snow Patrol - When I Get Home For Christmas
C4. Titan - Spiritual Guidance
C5. Big Boss Man - Christmas Boogaloo
D1. Teenage Fanclub - Christmas Eve
D2. Calexico - Gift X-Change
D3. Gorky’s Zygotic Mynci - Hwiangerdd Mair
D4. Low - Just Like Christmas
D5. Lauren Laverne - In The Bleak Midwinter
A lower-than-low priced compilation LP highlighting some of Matador’s most exciting 2013 moments, including (but not limited to) previously unreleased versions of songs from Queens Of The Stone Age, Yo La Tengo and Savages.
The perfect stocking stuffer, particularly if you own a 12” square stocking.
120g vinyl includes MP3 coupon.
Exclusively available to independent retailers.
The perfect stocking stuffer, particularly if you own a 12” square stocking.
120g vinyl includes MP3 coupon.
Exclusively available to independent retailers.
In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.
This collection of songs is the definitive indie Christmas album and includes contributions from a broad spectrum of indie giants, with songs ranging from traditional standards to originals written specially for this collection. This compilation contains both ballads and songs to pogo around the Christmas tree to in equal measure and coincidentally is a compilation of twenty-one songs re-released after twenty-one years.
The highlights are Low’s much-loved ‘Just Like Christmas’, The Flaming Lips and their ‘White Christmas (demo for Tom Waits)’, the Grandaddy track which is both wistful and amusing and Eels’ ‘Everything’s Gonna Be Cool This Christmas’. In fact there is not a second-rate filler on this album and there’s even a track from Lauren Laverne recorded before she became a famous DJ.
The original intention of creating this album was to raise money for a worthy charity. War Child is an amazing organisation that protects, educates and helps children get over the terrible traumas they’ve suffered from war. The work done in their programmes has alife-saving impact on children and their families in some of the most dangerous places on earth.
This collection of songs is the definitive indie Christmas album and includes contributions from a broad spectrum of indie giants, with songs ranging from traditional standards to originals written specially for this collection. This compilation contains both ballads and songs to pogo around the Christmas tree to in equal measure and coincidentally is a compilation of twenty-one songs re-released after twenty-one years.
The highlights are Low’s much-loved ‘Just Like Christmas’, The Flaming Lips and their ‘White Christmas (demo for Tom Waits)’, the Grandaddy track which is both wistful and amusing and Eels’ ‘Everything’s Gonna Be Cool This Christmas’. In fact there is not a second-rate filler on this album and there’s even a track from Lauren Laverne recorded before she became a famous DJ.
The original intention of creating this album was to raise money for a worthy charity. War Child is an amazing organisation that protects, educates and helps children get over the terrible traumas they’ve suffered from war. The work done in their programmes has alife-saving impact on children and their families in some of the most dangerous places on earth.
TRACK LISTING
A1. Grandaddy - Alan Parsons In A Winter Wonderland
A2. The Dandy Warhols - Little Drummer Boy
A3. The Webb Brothers - Every Day Is Christmas
A4. Eels - Everything’S Gonna Be Cool This Christmas
A5. El Vez - Feliz Navi-Nada
A6. Morgan - Christmas In Waikiki
B1. Drugstore - Maybe At Christmas Time
B2. Belle And Sebastian - O Come, O Come Emmanuel
B3. Giant Sand - Thank You Dreaded Black Ice, Thank You
B4. The Flaming Lips - White Christmas (Demo For Tom Waits)
B5. Saint Etienne - My Christmas Prayer
C1. Departure Lounge - Christmas Downer
C2. Six By Seven - I Believe In Father Christmas
C3. Snow Patrol - When I Get Home For Christmas
C4. Titan - Spiritual Guidance
C5. Big Boss Man - Christmas Boogaloo
D1. Teenage Fanclub - Christmas Eve
D2. Calexico - Gift X-Change
D3. Gorky’S Zygotic Mynci - Hwiangerdd Mair
D4. Low - Just Like Christmas
D5. Lauren Laverne - In The Bleak Midwinter
Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection.
With this new volume 100% italian, discover rare gems from soundtracks of erotic and detective movies as well as more confidential music libraries.
With Ennio Morricone, Goblin, Piero Piccioni, Guido e Maurizio De Angelis, Armando Trovajoli, Alessandro Alessandri, Toto Cutugno…
With this new volume 100% italian, discover rare gems from soundtracks of erotic and detective movies as well as more confidential music libraries.
With Ennio Morricone, Goblin, Piero Piccioni, Guido e Maurizio De Angelis, Armando Trovajoli, Alessandro Alessandri, Toto Cutugno…
TRACK LISTING
A1. Ennio Morricone -Dance On (O.S.T. "Così Come Sei")
A2. Toto Cutugno - Mi Dici Che Stai Bene Con Me…
A3. Puccio Roelens - Northern Lights
A4. Toni Santagata - UFO Sexo
A5. Blue Marvin Orchestra - La Cortigiana (O.S.T. "Codice D'Amore Orientale")
B1. Alessandro Alessandri - Manhattan Disco (O.S.T. "Sangue Di Sbirro")
B2. Stefano Torossi - Having Fun
B3. Gianpaolo Chiti & Sergio Montori - Desperation And Money (O.S.T. "Banda Vallanzasca")
B4. Ezy Minus - Contraband Love
B5. Goblin - Tenebre (O.S.T. "Tenebre")
C1. Sessomatto (Armando Trovajoli) - Sessomatto (O.S.T. "Sessomatto")
C2. Silvano D'Auria - Porto Cammelli (O.S.T. "La Mano Lunga Del Padrino")
C3. Stelvio Cipriani - Mark Il Poliziotto - Originale (O.S.T. "Mark Il Poliziotto ")
C4. Fred Bongusto - Le Tentazioni Di Giorgia (O.S.T. "Gli Ordini Sono Ordini")
C5. Pino Donaggio - Lady Fine (O.S.T. "Senza Buccia / Cosi' Fan Tutte")
C6. Eva Eva Eva - Donna Donna Donna
D1. Franco Bixio, Fabio Frizzi & Vincenzo Tempera - Vai Gorilla (O.S.T. "Vai Gorilla")
D2. Riz Ortolani - La Ragazza Dal Pigiama Giallo (O.S.T. "La Ragazza Dal Pigiama Giallo")
D3. Guido E Maurizio De Angelis - Ankara (O.S.T. "Afyon Oppio")
D4. Piero Piccioni - Blue Rhythm Festival - New Edit (O.S.T. "Bora Bora")
D5. Carlo Bixio & Marcello Gigante - Il Seme Di Caino (O.S.T. "Il Seme Di Caino")
D6. Goblin - La Via Della Droga - Originale (O.S.T. "La Via Della Droga")
Since 2006, listeners have been curious about the origin of the label name Italians Do It Better. Some say it's an homage to Italo Disco, others guess it's related to ancestry, but in fact it's a nod to the iconic T-shirt Madonna wears in the "Papa Don't Preach" video circa 1986.
Fast forward to a world pandemic... To encourage creativity & lift spirits, Italians Do It Better President, Megan Louise asked every artist “If you could cover your favourite Madonna song…What would it be?”
As a tribute to their label muse & the impact Madonna’s music has had on the world around us, Italians Do It Better are sharing a compilation of covers simply titled “Italians Do It Better”. One of the tracks (“Lucky Star” by Club Intl) is even produced by Max Kamins, the son of Mark Kamins, the New York DJ who helped break Madonna in the early 1980's. From the experience he says “Dance music was the soundtrack of my early childhood. Working on "Lucky Star" reconnected me not only to my father, but also reminded me that a good song is timeless".
Executive produced by Johnny Jewel, the compilation is a passport to 20 covers from the bedrooms of 19 artists across 10 different countries.
Fast forward to a world pandemic... To encourage creativity & lift spirits, Italians Do It Better President, Megan Louise asked every artist “If you could cover your favourite Madonna song…What would it be?”
As a tribute to their label muse & the impact Madonna’s music has had on the world around us, Italians Do It Better are sharing a compilation of covers simply titled “Italians Do It Better”. One of the tracks (“Lucky Star” by Club Intl) is even produced by Max Kamins, the son of Mark Kamins, the New York DJ who helped break Madonna in the early 1980's. From the experience he says “Dance music was the soundtrack of my early childhood. Working on "Lucky Star" reconnected me not only to my father, but also reminded me that a good song is timeless".
Executive produced by Johnny Jewel, the compilation is a passport to 20 covers from the bedrooms of 19 artists across 10 different countries.
TRACK LISTING
1. Joon - Papa Don't Preach
2. Desire - Angel
3. Sally Shapiro - Holiday
4. DlinaVolny - Hollywood
5. Farah - Gang Bang
6. Mothermary - Like A Virgin
7. Club Intl - Lucky Star
8. Love Object - Frozen
9. Orion - Into The Groove
10. Number One Pop Star - Hung Up
11. Double Mixte - La Isla Bonita
12. Juno Francis - Beautiful Stranger
13. Glüme - Material Girl
14. In Mirrors - I'm Addicted
15. Causeway - Crazy For You
16. Mothermary - Like A Prayer
17. Jorja Chalmers - Justify My Love
18. Pink Gloves - What It Feels Like Fora Girl
19. Lou Rebecca - Burning Up
Various Artists
J Jazz Vol. 4: Deep Modern Jazz From Japan - The Nippon Columbia Label 1968 -1981
BBE Music
This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs.
J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.
J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.
TRACK LISTING
1. Exchange – Takeo Moriyama
2. The Ground For Peace – Jiro Inagaki & His Soul Media
3. Chakkiri Bushi – Nobuo Hara And His Sharps & Flats, Hozan Yamamoto
4. Trial Road – Tomoki Takahashi
5. A Muddy Muffin – Masahiko Sato
6. Samba De Negrito – Takashi Mizuhashi & Herbie Hancock
7. Scramble – Hiromasa Suzuki
8. A Head Wind – Shigeharu Mukai Quintet*
9. Prelude To The Afternoon Of A Faun – Nobuo Hara And His Sharps & Flats
10. Jones Street – Kiyoshi Sugimoto
11. By The Red Stream – Hiromasa Suzuki, Jiro Inagaki & Big Soul Media
12. Kaleidoscope (Edit) – Mickie Yoshino & Kazumi Watanabe
13. Ougi Denju-shiki – Toshiyuki Miyama And His New Herd
14. Toppu – Shigeharu Mukai
15. Mickey’s Samba – Mikio Masuda
16. Macumba – Fumio Itabashi*
*CD Only.
In the years following the World War Two, Japan developed one of the most insatiable, dynamic and diverse markets for jazz. For a crucial period of little over a decade - from the late 1960s to the early 1980s - Japanese jazz culture progressed at an astonishing rate, producing an extraordinary array of artists, recordings and record labels that created some of the most forward thinking and impressive jazz to be committed to tape. This amazing journey is explored on ‘J Jazz’. This compilation from BBE uncovers some of the most sought after and rare material from this period and pulls together key artists who shaped the postwar modern jazz scene in Japan.
‘J Jazz' includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.
None of the tracks featured on ‘J Jazz’ have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector’s circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny’s Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy.
Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, ’J Jazz’ brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.
‘J Jazz' includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.
None of the tracks featured on ‘J Jazz’ have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector’s circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny’s Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy.
Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, ’J Jazz’ brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.
TRACK LISTING
CD
1. Koichi Matsukaze Trio - Earth Mother
2. Tohru Aizawa Quartet - Dead Letter
3. Eiji Nakayama - Aya’s Samba
4. Takao Uematsu - White Fire
5. Shintaro Quintet - A Blind Man
6. Mitsuaki Katayama - Unknown Point
7. Takeo Moriyama - Kaze
8. Fumio Karashima - Little Island
9. Kiyoshi Sugimoto - Long Neal
LP
A1. Koichi Matsukaze Trio - Earth Mother
A2. Takeo Moriyama Quartet With Shigeharu Mukai - North Wind*
B1. Tohru Aizawa Quartet - Dead Letter
B2. Eiji Nakayama - Aya’s Samba
C1. Takao Uematsu - White Fire
C2. George Otsuka Quintet - Sea Breeze*
D1. Shintaro Quintet - A Blind Man
D2. Mitsuaki Katayama - Unknown Point
E1. Fumio Karashima - Little Island
E2. Kiyoshi Sugimoto - Long Neal
F1. Takeo Moriyama - Kaze
F2. Terumasa Hino Meets Reggie Workman - Ode To Workman*
Following the sell-out success of our landmark compilation, J-Jazz: deep modern jazz from Japan 1969-1984, BBE Music is thrilled to present another exploration into the very finest Japanese modern jazz. J-Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections.
They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra).
J-Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J-Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.
They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra).
J-Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J-Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.
STAFF COMMENTS
Patrick says: After scoring a sell out success with the first volume, BBE revisit the treasure trove of Japanese jazz for another killer compilation of wild cuts and diverse rarities. This is a set so deep that the listener is a cat, whiskey and coffee away from turning into a Murakami protagonist...TRACK LISTING
A1. Makoto Terashita Meets Harold Land - Dragon Dance
A2. Kohsuke Mine Quinte - Daguri
B1. Mabumi Yamaguchi Quartet - Distant Thunder
B2. Hideto Sasaki & Toshiyuki Sekine QuarteT + 1 - Stop Over
C1. Miyasaka + 5 - Animals Garden
C2. George Kawaguchi Big Four - Vietnam
C3. Hiroshi Matsumoto & Hideo Ishikawa Quartet - Serenade To A Dimly Lit Street
D1. Electro Keyboard Orchestra - Mother Of The Future
D2. Teru Sakamoto Trio - Teru-Teru Bozu (Black Keys)
D3. Toshiyuki Miyama & The New Herd - Fallout (with Masahiko Sato)
E1. Makoto Terashita - Dai Hosaku (Great Harvest)
E2. Takashi Miyasaka Quintet - Straight Road
F1. Nobuo Hara & His Sharps & Flats Orchestra - Little Giant
F2. Akira Miyazawa - Brown Trout
J Jazz volume 3 is the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai.
TRACK LISTING
Song Of Island
Morning Tide
Kemo Sabe
Groovy Samba
Song For Hope
Cumorah
Phoebus
¼ Samba II
Cumulonimbus
Burning Cloud
Planets
Wolf’s Theme
Honey Sanba
Kirisame
Black Nile
Acoustic Chicken
10 song LP in 2-sided hand silkscreened jacket; blue or green print.
Three tracks previously unreleased.
New compilation and long overdue next entry in the long running 'Jah Children Invasion' compilation series! This volume focuses on Wackies' foray into digital reggae, with a killer selection of tracks from the late '80s and early '90s. There are three previously unreleased tunes alongside seven others culled from prior rare and long out of print releases. In DKR style this comes in a 2 sided hand silkscreened jacket.
Three tracks previously unreleased.
New compilation and long overdue next entry in the long running 'Jah Children Invasion' compilation series! This volume focuses on Wackies' foray into digital reggae, with a killer selection of tracks from the late '80s and early '90s. There are three previously unreleased tunes alongside seven others culled from prior rare and long out of print releases. In DKR style this comes in a 2 sided hand silkscreened jacket.
TRACK LISTING
A1. Horace Andy - Drop Off
A2. Wayne Chin - Won't Do For Love
A3. Milton Henry - Make It Right
A4. Jerry Harris - A Little Love We Need
A5. Chris Wayne - Streets Of Africa
B1. Horace Andy - Dub Out A Sound
B2 . Jackie Mittoo - Sorrowful
B3 . Chris Wayne - Wild Goose Race
B4 . Chosen Brothers - Majority Rule
B5. Milton Henry - Now You See The Scene
Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26. Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance. A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City. The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.
“This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26
“This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26
TRACK LISTING
1. Venus & Mars (Jamie 3:26 Edit)
2. The Lesson (Doc Brucio's Original Mix – Jamie 3:26 Edit)
3. The Jungle (Jamie's Jungle Sounds Edit)
4. Mind Games (Underground Mix – Jamie 3:26 Edit)
5. Stomps & Shouts (Jamie 3:26 Basement Edit)
6. It's House (Jamie's Basement Edit)
7. Comin' On Strong (Jamie 3:26 Edit)
A Christmas present from Rough Trade Shops for all the pop pickers worldwide. In the world of Spotify, Bandcamp and other digital only releases, Rough Trade Shops decided to compile these releases on one simple Christmas album Jangle Bells. It ranges date wise from 2008’s Allo Darlin’ offering to Marika Hackman’s especially recorded track in the middle of a semi heatwave in 2023. Across the 14 Tracks on the vinyl and 19 tracks on the CD you get everything from Pale Waves beautiful Rendition of Wham’s Crimbo classic ‘Last Christmas’ to Chubby and the Gang’s 'Violent Night (A Christmas Tale)’ which was a flexi only release in 2022. You can sit down and get melancholic with Julia Jacklin or Ellie Bleach or get upbeat and joyous with Linda Lindas and Black Midi who do a pretty faithful version of 'Jingle Bell Rock’. Happy Christmas 2023 from all at Rough Trade Shops.
TRACK LISTING
1. Marika Hackman – Driving Under Stars (Piano)
2. Pale Waves – Last Christmas
3. Allo Darlin’ – Will You Please Spend New Years With Me?
4. Julia Jacklin – Baby Jesus Is Nobody’s Baby Now
5. The School – Shouldn’t Be Alone For Christmas
6. The Big Moon – It’s The Most Wonderful Time Of The Year
7. Los Bitchos – Los Chrismos
8. Linda Lindas – Groovy Xmas
9. Black Midi – Jingle Bell Rock
10. Chubby And The Gang – Violent Night (A Christmas Tale)
11. Peaness – Kiss Me Sweetpea
12. Bubble And Squeak – The Christmas Stick
13. Ellie Bleach – Merry Christmas, Do You Ever Think Of Me?
14. Sinkane – Christmas Wrapping
15. Dream Nails – Lonely Star (Christmas Song)
16. Willie J Healey – Merry Christmas
17. Girl Ray – I Wish I Were Giving You A Gift
18. Stars – Christmas Anyway
19. Alex Lahey – Merry Christmas (I Don’t Wanna Fight Tonight)
Celebrating twenty-five years of Aficionado as a place to play away from suffocating mainstream club culture, DJs Jason Boardman and Moonboots have compiled a contemplative set of 16 tracks that holds a deep meaning to both themselves and attendees of their now legendary parties. The compilation includes two new tracks exclusive to the release: J-Walk’s ‘Cool Bright Northern Morning’ and Begin’s remix of Canyons ‘Akasha’.
Reflecting on how it all started 25 years ago, Moon considers their no-plan-plan to be a makeshift plateau which evolved organically: “All we did was try to play good records one after the other without any consideration for fashion. And people wanted that”. Alternative approaches were not unknown at the time, but Aficionado, as Jason and Moon’s Sunday sessions became known, pressed the reset button with unique resolve.
Jason elaborates: “It was 1998 when we started. It was our own 'fuck you’ to the Super Club regime - almost everywhere then. The ‘anything goes’ Balearic ethos was in abeyance. It wasn’t cool at the time, but we both just wanted to keep that original spirit alive. ‘Keep it open’ had always been my approach to DJing - even from playing at Youth Clubs as a teenager. No rules or generic constrictions. Play anything that you like from any era, any style from any time. We always encouraged our guests to dig deep and play outside of their comfort zones, their usual styles”.
Regular contributors quickly realised there was a freedom here which expected exploration of the most cobwebbed corners of the collection. The trick was to do something that hadn’t been done before - to play a record which might make these genuinely genre-less sonic adventurers double take. Aficionado reserved the right to apply the brakes and offered the same opportunity to their guests in terms of avoiding stultifying ‘sets’ and routine dance floor button pushing. At the same time, Jason and Moon were also adept in responding to the hedonistic excess that often erupted by playing music likely to facilitate random outbursts of dancing on tables on a school night. Aficionado never settled or coalesced into something readily identifiable and easy to sell.
While there were many Manchester venues, for Jason Sundays at Zumbar were special: “It would get very deranged. A cranky Citronic double deck console and very lo-fi, but a real vibe. Free pizza! At Fat Cat we got offered a proper wage - credit in the straight world! A basement by the Canal”. Moon concurs: “Zumbar was crackers - Sunday became the essential day to go out for our lot. But my two favourite ’Nado venues were Arch in Hulme and Fat Cat. People who’d been up all weekend would turn up spangled. Some bods stopped going out on Saturdays and made Sunday their big night out. Did these people have jobs? Very, very funny times…”.
The lovingly crafted musical mystery tour of this compilation, considering its pleasantly hypnagogic intent, may not reflect the madness of these now distant memories. This is an older and considerably more responsible collection and this is what we need right now - a temporary respite from a world almost capsized. A mood, a meditation created by masters of their craft. Odd socks from disparate global locations making new sense side by side. An assemblage, if you like. A thread through many different kinds of thinking. A new picture pieced together from the lost pieces of many jigsaws.
A club night that’s uniquely Mancunian in spirit yet has gone on to inform and inspire a whole global network of record obsessives. A label that spins on a different axis to the mainstream, yet evolves and adapts in natural cycles in harmony with the growing maturity of its founders. Which is why we find ‘25 Years Of Aficionado’ in a decidedly unhurried and meditative mood - showcasing sounds that are at home amongst sun-blushed beaches, English countryside and the relaxed contentment of a free weekend afternoon. Rather than re-hash the hits that soundtracked their debauched Sunday sessions back in the day, the pair have curated a contemplative set that reflects the unwinding of pace that undoubtedly comes with age – in turn delivering something that’s unequivocally relevant to the listeners it's aimed at.
I’ve had both the joy and pain of playing at ‘Nado. Forced to spend most of the evening wearing record sleeves on my head as my ill prepared set contained bootlegs, edits and, the biggest rule break of all – beat matching! I was young and ignorantly unaware of these basic fundamentals, but it was a beautiful schooling. To some this might seem like a militant and contrary manifesto; but it serves to highlight the purity of spirit that can easily be lost in today’s modern age, where digital versions of most songs can be acquired at the click of a mouse and true undiscovered rarities come few and far between. JB & Moon epitomise the excitement of the hunt, the joy of eclecticism; and I think it's due to this immovable and uncompromising passion for unearthing true vinyl gems that goes someway to explaining the pair’s universal admiration and acclaim as DJs and label curators.
Reflecting on how it all started 25 years ago, Moon considers their no-plan-plan to be a makeshift plateau which evolved organically: “All we did was try to play good records one after the other without any consideration for fashion. And people wanted that”. Alternative approaches were not unknown at the time, but Aficionado, as Jason and Moon’s Sunday sessions became known, pressed the reset button with unique resolve.
Jason elaborates: “It was 1998 when we started. It was our own 'fuck you’ to the Super Club regime - almost everywhere then. The ‘anything goes’ Balearic ethos was in abeyance. It wasn’t cool at the time, but we both just wanted to keep that original spirit alive. ‘Keep it open’ had always been my approach to DJing - even from playing at Youth Clubs as a teenager. No rules or generic constrictions. Play anything that you like from any era, any style from any time. We always encouraged our guests to dig deep and play outside of their comfort zones, their usual styles”.
Regular contributors quickly realised there was a freedom here which expected exploration of the most cobwebbed corners of the collection. The trick was to do something that hadn’t been done before - to play a record which might make these genuinely genre-less sonic adventurers double take. Aficionado reserved the right to apply the brakes and offered the same opportunity to their guests in terms of avoiding stultifying ‘sets’ and routine dance floor button pushing. At the same time, Jason and Moon were also adept in responding to the hedonistic excess that often erupted by playing music likely to facilitate random outbursts of dancing on tables on a school night. Aficionado never settled or coalesced into something readily identifiable and easy to sell.
While there were many Manchester venues, for Jason Sundays at Zumbar were special: “It would get very deranged. A cranky Citronic double deck console and very lo-fi, but a real vibe. Free pizza! At Fat Cat we got offered a proper wage - credit in the straight world! A basement by the Canal”. Moon concurs: “Zumbar was crackers - Sunday became the essential day to go out for our lot. But my two favourite ’Nado venues were Arch in Hulme and Fat Cat. People who’d been up all weekend would turn up spangled. Some bods stopped going out on Saturdays and made Sunday their big night out. Did these people have jobs? Very, very funny times…”.
The lovingly crafted musical mystery tour of this compilation, considering its pleasantly hypnagogic intent, may not reflect the madness of these now distant memories. This is an older and considerably more responsible collection and this is what we need right now - a temporary respite from a world almost capsized. A mood, a meditation created by masters of their craft. Odd socks from disparate global locations making new sense side by side. An assemblage, if you like. A thread through many different kinds of thinking. A new picture pieced together from the lost pieces of many jigsaws.
STAFF COMMENTS
Matt says: Aficionado is a cult. A nod-and-a-wink into cryptic catacombs of musical discovery. A paradoxical combination of Moonboot’s hushed mythical reverence and the contagious sense of enthusiasm and adventure from Jason Boardman.A club night that’s uniquely Mancunian in spirit yet has gone on to inform and inspire a whole global network of record obsessives. A label that spins on a different axis to the mainstream, yet evolves and adapts in natural cycles in harmony with the growing maturity of its founders. Which is why we find ‘25 Years Of Aficionado’ in a decidedly unhurried and meditative mood - showcasing sounds that are at home amongst sun-blushed beaches, English countryside and the relaxed contentment of a free weekend afternoon. Rather than re-hash the hits that soundtracked their debauched Sunday sessions back in the day, the pair have curated a contemplative set that reflects the unwinding of pace that undoubtedly comes with age – in turn delivering something that’s unequivocally relevant to the listeners it's aimed at.
I’ve had both the joy and pain of playing at ‘Nado. Forced to spend most of the evening wearing record sleeves on my head as my ill prepared set contained bootlegs, edits and, the biggest rule break of all – beat matching! I was young and ignorantly unaware of these basic fundamentals, but it was a beautiful schooling. To some this might seem like a militant and contrary manifesto; but it serves to highlight the purity of spirit that can easily be lost in today’s modern age, where digital versions of most songs can be acquired at the click of a mouse and true undiscovered rarities come few and far between. JB & Moon epitomise the excitement of the hunt, the joy of eclecticism; and I think it's due to this immovable and uncompromising passion for unearthing true vinyl gems that goes someway to explaining the pair’s universal admiration and acclaim as DJs and label curators.
TRACK LISTING
Vinyl Tracklisting:
1. Held By Trees - In The Trees - Ambient
2. Stanley Clarke - Desert Song
3. Jan Akkerman - Ode To Billy Joe
4. Alain Debray - Concierto De Aranjuez
5. The Hightower Set - Departure Lounge (Nothing To Declare)
6. J-Walk - Cool Bright Northern Morning
7. Canyons - Akasha (Begin Remix)
8. Waves - Summer Sunday
9. Mudd - Summer In The Wood
10. Trevor Heiron - Love Chains (Instrumental)
11. Korallreven - Honey Mine (Lissvik Remix)
12. Giorgio Tuma - Through Your Hands Love Can Shine (feat. Laetitia Sadier)
13. The Superimposers - Seeing Is Believing
14. Teacher - Can't Step Twice (On The Same Piece Of Water) (New Version)
15. Kalima - Shine (Gilles Peterson Vibrazonic Dub Mix)
16. The Haggis Horns - The Traveller Part Two
CD Tracklisting:
1. Stanley Clarke - Desert Song
2. Jan Akkerman - Ode To Bellie Jo
3. Alan Debray - Concierto De Aranjuez
4. High Tower Set - Departure Lounge (Nothing To Declare)
5. J-Walk - Cool Bright Northern Morning (Exclusive)
6. Canyons - Akasha (Begin Remix)
7. Waves - Summer Sunday
8. Mudd - Summer In The Woods
9. Trevor Herion - Love Chains (Instrumental)
10. Korallreven - Honey Mine (Lissvik Remix)
11. Georgio Tuma With Laetitia Sadier - Through Your Hands Love Can Shine
12. Superimposers - Seeing Is Believing
13. Cecilio & Kapana - Someday
14. Teacher - Can't Step Twice On The Same Piece Of Water
15. Kalima - Shine On (Vibrazonic Dub Mix)
Let the sound of the night drums and the cry of the horns empower you! The crate diggers of Jazz Dispensary are proud to present a collection of jams propelled by the spirit of nature, protest, and freedom, featuring songs from pioneering musicians Joe Henderson, Gary Bartz, Ran Blake, Azar Lawrence, A.K. Salim, and The Dungills.
TRACK LISTING
SIDE A:
1. Afro-Centric – Joe Henderson
2. Freedom One Day – Gary Bartz Quintet
3. Theme For A New Day – Azar Lawrence
SIDE B:
4. Afrika – A.K. Salim
5. Night Drums – The Dungills
6. Three Seeds (A Suite): I) Regis Debray; II) Che Guevara; III) Malcolm – Ran Blake
Strut and Art Yard present the culmination of a 5-year project researching the archives of author, DJ and activist John Sinclair with the first ever retrospective of the influential Detroit Artists Workshop spanning 1965 to 1981.
“In the mid-‘60s, Detroit was nowhere,” explains Sinclair. “A decaying jazz scene, no community of poets, painters or writers so a group of young Detroit artists, most of us students at Wayne State University, got together in the late Summer of 1964.” Led by Sinclair and trumpeter Charles Moore, the Artists Workshop Society was formed as a co-operative community, drawing upon the resources of every participating individual in order to perpetuate itself. They began to provide spaces in Detroit for musicians to rehearse and to promote live concerts showcasing a range progressive jazz artists across the city.
Between the mid-‘60s and the early ‘80s, Sinclair amassed a huge archive of recordings from the Workshop concerts featuring Detroit residents like Moore’s Contemporary 5, Ron English and Lyman Woodard alongside many other US jazz luminaries including Donald Byrd, Sun Ra Arkestra and Herbie Hancock. Dormant in the Charles H. Wright Museum of African American History in Brooklyn for many years, Strut and Art Yard began their research into the archives in 2017.
This first compilation of Detroit Artists Workshop is a revelation for any fan of jazz, featuring previously unreleased recordings by Byrd, Moore, English, Woodard, Bennie Maupin and Teddy Harris accompanied by extensive sleeve notes from John Sinclair, Robin Eichele and Herb Boyd. All tracks are remastered from the original tapes by Technology Works.
“In the mid-‘60s, Detroit was nowhere,” explains Sinclair. “A decaying jazz scene, no community of poets, painters or writers so a group of young Detroit artists, most of us students at Wayne State University, got together in the late Summer of 1964.” Led by Sinclair and trumpeter Charles Moore, the Artists Workshop Society was formed as a co-operative community, drawing upon the resources of every participating individual in order to perpetuate itself. They began to provide spaces in Detroit for musicians to rehearse and to promote live concerts showcasing a range progressive jazz artists across the city.
Between the mid-‘60s and the early ‘80s, Sinclair amassed a huge archive of recordings from the Workshop concerts featuring Detroit residents like Moore’s Contemporary 5, Ron English and Lyman Woodard alongside many other US jazz luminaries including Donald Byrd, Sun Ra Arkestra and Herbie Hancock. Dormant in the Charles H. Wright Museum of African American History in Brooklyn for many years, Strut and Art Yard began their research into the archives in 2017.
This first compilation of Detroit Artists Workshop is a revelation for any fan of jazz, featuring previously unreleased recordings by Byrd, Moore, English, Woodard, Bennie Maupin and Teddy Harris accompanied by extensive sleeve notes from John Sinclair, Robin Eichele and Herb Boyd. All tracks are remastered from the original tapes by Technology Works.
STAFF COMMENTS
Matt says: From percussive heavy tribal dancers and boppin' funk that'd make New Orleans take note; to spiritual jazz so deep it'll change your religion! A breath taking comp from the city which seems intrinsic in the story of the jazz. For some the sixties are its golden age and when listening to this double disc spectacular it's hard not to see why.TRACK LISTING
A1. John Sinclair Introduction / Yusef Lateef - Happy Ology
A2. Donald Byrd - Christo Redentor
A3. Donald Byrd - Blackjack
B1. Detroit Contemporary 4 - Effi
B2. Detroit Contemporary 4 - The Promise
B3. Detroit Contemporary 4 - Three Flowers (Cd Only)
C1. Bennie Maupin Quartet - Water Torture
C2. Ron English - Bees
D1. Teddy Harris - Passion Dance
D2. Lyman Woodard - Deja Vu
D3. Lyman Woodard Organisation - Help Me Get Away
Midway through his long, earnest and often very, very funny essay on the role playing game Dungeons & Dragons in the September 2006 issue of The Believer, writer Paul La Farge proposes that Dungeons & Dragons is not a game at all but rather a ritual. La Farge notes the marked difference between game and ritual. Whereas a game seeks to demonstrate how unequal or distinct players/ teams are from one another, rituals seek to do the very opposite. “Ritual, on the other hand, is the exact inverse, for it brings about a union,” La Farge writes, himself paraphrasing anthropologist Claude Levi-Strauss. “Or in any case an organic relation between the initially separate groups.”
And so, across the 25-year history of Jagjaguwar, an independent record label curiously named using a Dungeons & Dragons name generator, we find this idea of ritual as a conjoining practice. We see it early on when Jagjaguwar joins forces with a midwestern label called Secretly Canadian for a powerful fusion. We see it in familial relationships and collaboration among Jagjaguwar artists, and the ways those artists’ most treasured collaborators make their ways to the Jagjaguwar game board.
Join The Ritual, the third piece of Jagjaguwar’s 25th Anniversary celebration, looks to pay homage to the labels and artists that, whether they know it or not, invited Jagjaguwar to the table, to this wild, dark magic ritual of music. We’re talking about independent titans like Drag City, Too Pure, K Records and Touch & Go. We’re talking about heroes like R.E.M., Slint, Stereolab and Tracy Chapman. These songs captured the imaginations of our founders Darius Van Arman and Chris Swanson — and ultimately, opened up worlds to them.
And so, across the 25-year history of Jagjaguwar, an independent record label curiously named using a Dungeons & Dragons name generator, we find this idea of ritual as a conjoining practice. We see it early on when Jagjaguwar joins forces with a midwestern label called Secretly Canadian for a powerful fusion. We see it in familial relationships and collaboration among Jagjaguwar artists, and the ways those artists’ most treasured collaborators make their ways to the Jagjaguwar game board.
Join The Ritual, the third piece of Jagjaguwar’s 25th Anniversary celebration, looks to pay homage to the labels and artists that, whether they know it or not, invited Jagjaguwar to the table, to this wild, dark magic ritual of music. We’re talking about independent titans like Drag City, Too Pure, K Records and Touch & Go. We’re talking about heroes like R.E.M., Slint, Stereolab and Tracy Chapman. These songs captured the imaginations of our founders Darius Van Arman and Chris Swanson — and ultimately, opened up worlds to them.
TRACK LISTING
SIDE A:
1. Spencer Krug - Red Dress
2. The Besnard Lakes - Good Morning, Captain
3. They Hate Change - The Seeming And The Meaning
4. Angel Olsen - Cold Blooded Old Times
5. Bruce Hornsby - Feel The Pain
6. Jamila Woods - Fast Car
SIDE B:
7. Nap Eyes - Car
8. S. Carey - Weight Of Water
9. Pink Mountaintops - The Concept
10. Cut Worms - One For The Catholic Girls
11. Okay Kaya - Nightswimming
Following on from 2012’s acclaimed “Fame” Post-Punk , 2015's "Perfect Motion" Psychedelic-Baggy 1988-93 compilations & 2020’s “Do You have The Force ?” Electronic 1978-82, all critically acclaimed. Jon Savage decided to focus upon Electronic music from the 1990s & has compiled an album that trips through a futuristic & musically fertile era highlighting both lesser-known gems & genre-defining cuts ..
” This music is a new way of looking at the world, a new language” (Jon Savage -Jockey Slut Magazine 1992 )
This compilation is selected and curated by renowned cultural commentator, writer and film-maker Jon Savage. Amongst many highly revered projects Jon has produced the definitive work on Punk Rock in “England's Dreaming” and the documentary & book “Teenage” The Creation of Youth, 1875 - 1945. He is also the biographer of Joy Division & author of the top 10 Sunday Times best seller "This Searing Light, The Sun & Everything Else" The Oral History Of Joy Division in 2019.
” This music is a new way of looking at the world, a new language” (Jon Savage -Jockey Slut Magazine 1992 )
This compilation is selected and curated by renowned cultural commentator, writer and film-maker Jon Savage. Amongst many highly revered projects Jon has produced the definitive work on Punk Rock in “England's Dreaming” and the documentary & book “Teenage” The Creation of Youth, 1875 - 1945. He is also the biographer of Joy Division & author of the top 10 Sunday Times best seller "This Searing Light, The Sun & Everything Else" The Oral History Of Joy Division in 2019.
TRACK LISTING
Sandoz (richard H Kirk) - Limbo 8:48
Lobe - Placebo 7:02
2 Cabbages On A Drip - Calm 6:34
React 2 Rhythm - Intoxication (clubfield Mix) 6:10
Strange Cargo - Montauk Point 7:12
Rapoon - Bol Baya 9:07
Aphex Twin - Utopia 3 - 7:19
Gol - No Bounds 5:06
Moonwater - Space Indian 6:55
Underworld - Blueski 2:56
U-ziq - Phiesope 6:04
Biosphere - En-trance 4:41
Various Artists
Jon Savage's The Secret Public - How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979
Ace Records
Homosexuality has been a part of post-war popular music since its very inception. Until the early 70s, however, it wasn’t talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were.
This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s.
This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs — where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It’s a love letter to the entwined world of music and sexuality in all its many guises and we hope you enjoy the ride.
This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s.
This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs — where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It’s a love letter to the entwined world of music and sexuality in all its many guises and we hope you enjoy the ride.
TRACK LISTING
Disc One
1. I Hear A New World - Joe Meek & The Blue Men
2. Tutti-Frutti - Little Richard & His Band
3. Esquerita And The Voola - Esquerita
4. Wondrous Place - Billy Fury
5. Strawberry Blonde (The Band Rocked On) - Frank D'rone
6. Foot Stompin' - The Dovells
7. Johnny Remember Me - John Leyton
8. Peppermint Twist (Part 1) – Joey Dee & The Starliters
9. Sally, Go ‘Round The Roses - The Jaynetts
10. You Don't Own Me - Lesley Gore
11. Needle In A Haystack - The Velvelettes
12. Get Down With It - Bobby Marchan
13. I'll Be Your Mirror – The Velvet Underground & Nico
14. Heaven Must Have Sent You - The Elgins
15. Stand Up Straight And Tall - Jackie Shane
16. Women Is Losers – Big Brother & The Holding Company
17. No Stranger Am I - Norma Tanega
18. Pretty Golden Hair - Al Stewart
19. David Watts - The Kinks
20. Nothing But A Heartache - The Flirtations
21. Stand! - Sly & The Family Stone
22. Life & Death In G & A - Abaco Dream
23. Nathan Jones - The Supremes
24. Walk On The Wild Side - Lou Reed
25. Coochi-Coo - Polly Perkins
26. I'm A Man - Jobriath
27. Soul Makossa - Manu Dibango
28. Law Of The Land - The Temptations
Disc Two
1. Get Dancin' Part 1 – Disco Tex & The Sex-O-Lettes Featuring Sir Monti Rock Iii
2. Lady Marmalade - Labelle
3. Nobody's Gonna Change Me – The Dynamic Superiors
4. Ain't Nobody Straight In L.A. - The Miracles
5. I Need A Man (12-Inch Version) - Grace Jones
6. I Feel Love - Patrick Cowley
7. Orgasm Addict - Buzzcocks
8. Fuck Off - Jayne County & The Electric Chairs
9. Glad To Be Gay - Tom Robinson Band
10. I Was Born This Way (12-Inch Version) - Carl Bean
11. Prison (12-Inch Version) - Space
12. Disco Dance (Mega Mix) (12-Inch Version) - Michele
13. I Need Somebody To Love Tonight (12-Inch Version) - Sylvester
Continuing his long-running and highly respected series for Ace, spanning year by year since the germination of his 1966 volume for both Ace and Faber Books, Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985.
Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ and having fun on the dole with the under-appreciated ‘Bright Lights’.
But by the end of 1984, the true action throughout this period was to be found in electronic, black American and club music: whether the metal beat of Section 25’s ‘Looking From A Hilltop’, Trans-X’s daffy hi-NRG Eurobelter ‘Living On Video’, Shalamar’s pure electro ‘Disappearing Act’, or the new music coming out of Sugarhill and Tommy Boy – Grandmaster Flash, Double Dee and Steinski, and the sampled Malcolm X.
This compilation begins in the mainstream and ends in the underground. It was the classic high 80s, before the full downside of the New Right political project was revealed – although the signs were all there – but the pop fizz cloaked a nostalgia that masked the beginnings of social and subcultural breakdown. The tribes were at war, wearing clothes from pop’s past, a dizzying phenomenon that looted the 50s and 60s in a costume drama of confrontation and dislocation.
As ever, Jon reports from the thick of the action and provides both front line reportage and academic insight. Play loud and enjoy the trip.
Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ and having fun on the dole with the under-appreciated ‘Bright Lights’.
But by the end of 1984, the true action throughout this period was to be found in electronic, black American and club music: whether the metal beat of Section 25’s ‘Looking From A Hilltop’, Trans-X’s daffy hi-NRG Eurobelter ‘Living On Video’, Shalamar’s pure electro ‘Disappearing Act’, or the new music coming out of Sugarhill and Tommy Boy – Grandmaster Flash, Double Dee and Steinski, and the sampled Malcolm X.
This compilation begins in the mainstream and ends in the underground. It was the classic high 80s, before the full downside of the New Right political project was revealed – although the signs were all there – but the pop fizz cloaked a nostalgia that masked the beginnings of social and subcultural breakdown. The tribes were at war, wearing clothes from pop’s past, a dizzying phenomenon that looted the 50s and 60s in a costume drama of confrontation and dislocation.
As ever, Jon reports from the thick of the action and provides both front line reportage and academic insight. Play loud and enjoy the trip.
TRACK LISTING
CD One
1. All Tomorrow's Parties - Japan
2. Soweto - Malcolm McLaren With The Mclarenettes
3. Lined Up - Shriekback
4. Telephone Operator - Pete Shelley
5. Gods Will Be Gods - Echo & The Bunnymen
6. Heat (12-Inch Version) - Soft Cell
7. (Hey You) The Rock Steady Crew – The Rock Steady Crew
8. Disappearing Act (12-Inch Version) - Shalamar
9. Bright Lights - The Special Aka
10. White Lines (Don't Do It) (12-Inch Version) – Grandmaster & Melle Mel
11. Techno City (12-Inch Vocal Version) - Cybotron
12. Swimming Horses - Siouxsie & The Banshees
13. Heartbeat (12-Inch Version) - The Psychedelic Furs
14. No Sell Out (12-Inch Version) – Malcolm X (Keith Leblanc)
15. What Presence?! - Orange Juice
16. Girl Afraid (12-Inch Version) - The Smiths
CD Two:
1. Why? (12-Inch Version) - Bronski Beat
2. Love Resurrection (12-Inch Version) - Alison Moyet
3. Looking From A Hilltop (12-Inch Version) – Section 25
4. Think Fast (12-Inch Version) - Pamela Joy
5. Hypnotize (Version) (12-Inch Version) - Scritti Politti
6. Close (To The Edit) (12-Inch Version) - The Art Of Noise
7. Life's A Scream (12-Inch Version) - A Certain Ratio
8. Never Understand - The Jesus & Mary Chain
9. Sunspots - Julian Cope
10. Johnny Come Home - Fine Young Cannibals
11. In The Night - Pet Shop Boys
12. Single Life - Cameo
13. I Want You (12-Inch Version) - Cabaret Voltaire
14. Crazy – R.E.M.
Second volume in a new limited edition series on Stag-O-Lee. A series of ten-inch records done chronologically by year. All featuring rare and cool 45s that might have made their way onto a dusty jukebox in the middle of nowhere. Primal Rock ‘n’ Roll, Super Rare Rockabilly and Rambunctious R&B. Each volume is pressed on limited edition 10” vinyl and comes with a free CD plus bonustracks for the highway cruise in your big block V8.
A double CD inspired by Lux And Ivy’s record collection, a veritable stash of cool and super groovy sounds. Featuring 60 super strange songs originally released on vinyl back in the late ‘50s and early ‘60s. Including demented doo-wop, insane instrumentals, monsters and cavemen, canned laughter, loungecore weirdness, raucous rockabilly and out there beatnik anthems.
TRACK LISTING
DISC ONE:
1. PIMPLES AND BRACES - Ric Gary
2. HOT ROD VOLKSWAGEN - Bill Parsons
3. BOP CRAZY BABY - Vern Pullens
4. BOOM STIX - Curley And The Jades
5. CANNIBAL STEW - Jerry & Mel
6. LITTLE TIGER - H-Bomb Ferguson
7. RAM BUNK SHUS - Bill Doggett
8. LAFFIN' BEATNIK - Johnny Beeman
9. TEENAGE BEATNIK - Louis Nye
10. WHAT TIME IS IT? - Ken Nordine
11. STARDUST - Ferrante & Teicher
12. MOTORCYCLE MILLIE - Garrett Williams
13. HARD TIMES AHEAD - Janis Martin
14. THE MUMMY'S BRACELET - Lee Ross
15. VOODOO DRUMS - Akim (Aki Aleong)
16. CAVE MAN LOVE - Space Man & The Rockets
17. HOUND DOG - Betsy Gay
18. SCATTY CAT - Bob Bunny
19. FLING - The Phaetons
20. AFTER HOURS (FLYIN' HIGH) - Bob Taylor
21. LIKE, LONG HAIR - Paul Revere & The Raiders
22. IT'S WITCHCRAFT - The Blue Echoes
23. THE LIVING DEAD - Jim Burgett
24. BUZZ-BUZZ-BUZZ - The Hollywood Flames
25. BUZZ-BOMB - The Vice-Roys
26. MY ROUGH AND ROWDY WAYS - Webb Pierce
27. MARIJUANA, THE DEVIL’S FLOWER – Mr Sunshine
28. TO YOU SWEETHEART, ALOHA - Webley Edwards
29. TRIANGLE - Terri 'Cup Cake' O'Mason
30. THE CREEP - Three Suns
DISC TWO:
1. HONKIN' AT MIDNIGHT - Frank Motley & His Motley Crew
2. TALK ABOUT A PARTY - Lee Braun
3. MAD GASS - The Royal Teens
4. GISMO - Jimmy Heap
5. NAUGHTY ROOSTER - The Knight Beats
6. MONKEY STUFF - Claude And The Hightones
7. THE JOKER - Bob Bunny
8. WOWSVILLE – PART I - Big Bob
9. DANIEL WEBSTER & THE DEVIL - Big Daddy
10. MAMA’S PLACE - Bing Day
11. BOPPIN' TO GRANDFATHER'S CLOCK - Sidney Jo Lewis
12. TALK THAT TALK (PART 2) - Drits And Dravy
13. SHORTY - Patsy Ann Hinson With The Silvertones
14. WHATCHA DO TO ME - Patsy Clark
15. PEDRO JOE - Red (Hot) Russell
16. STROLLIE BUN - The Blonde Bomber
17. ICKY POO - The Nomads
18. MO' TATERS - The Earthworms
19. CRUISIN' - The Hollywood Vines
20. THE CHICKEN AND THE HAWK (UP. UP AND AWAY) - Big Joe Turner
21. WILD WILD YOUNG MEN - Ruth Brown
22. THE WALTZ OF ANGELS - Kitty Wells
23. FICKLE WOMAN - Elton Britt
24. A LOGGER'S WIFE - Buzz Martin
25. HOT DOG - Buck Owens
26. TEAR IT UP - Charlie Feathers
27. I'M THE WOLFMAN - Round Robin
28. DON'T MEET MR. FRANKENSTEIN - Carlos Casal Jr
29. EL TWISTO - The Peppermint Sticks
30. WHAT'S YOUR NAME? - The Monorays?
Previously released with Scientist as the 'artist', Greensleeves classic late 70s / early 80s dub series now gets an authorised deluxe 2CD / 2LP revamp under the moniker of producer Henry 'Junjo' Lawes. Original Greensleeves assembled dub classic, crucial selection of Junjo's classic Roots Radics propelled rhythms recorded at Channel One and mixed by Scientist at King Tubby's. Newly remastered dub album now twinned with a second disc of the original vocal versions and a selection of DJ cuts. Six panel digi-pack with 8pp booklet and CD's housed in custom sleeves.
TRACK LISTING
Disc: 1
1. Seconds Away - Roots Radics
2. Straight Left - Roots Radics
3. Upper Cut - Roots Radics
4. Kidney Punch - Roots Radics
5. Saved By The Bell - Roots Radics
6. Right Cross - Roots Radics
7. Jab - Roots Radics
8. One Two - Roots Radics
9. Below The Belt - Roots Radics
10. Knock Out - Roots Radics
Disc: 2
1. Many Changes In Life - Barrington Levy
2. You Come To Ask Me What Is Love - Barrington Levy
3. Robin Hood - Barrington Levy
4. That's How You Get Your Love Bump - General Echo
5. Gonna Tell Your Girlfriend - Barrington Levy
6. Na Broke No Fight Over No Woman - Barrington Levy
7. Like How You Kiss And Caress Me - Barrington Levy
8. Rock And Come In - Barrington Levy
9. Christine - Ranking Joe
10. Why Did You Leave Me - Barrington Levy
11. Love Sister Carol - Barrington Levy
12. Rub Sister Rub It - Ranking Joe
13. The Letter Song - Barrington Levy
Original Greensleeves assembled dub classic, crucial selection of Junjo's classic Roots Radics propelled rhythms recorded at Channel One and mixed by Scientist at King Tubby's.
Remastered iconic dub album now twinned with a second disc of the original vocal versions. Strictly limited one off Halloween orange vinyl pressing.
Remastered iconic dub album now twinned with a second disc of the original vocal versions. Strictly limited one off Halloween orange vinyl pressing.
TRACK LISTING
Disc 1
1. The Voodoo Curse - Roots Radics
2. Dance Of The Vampires - Roots Radics
3. Blood On Hist Lips - Roots Radics
4. Cry Of The Werewolf - Roots Radics
5. The Mummy's Shroud
6. The Corpse Rises - Roots Radics
7. Night Of The Living Dead - Roots Radics
8. Your Teeth In My Neck - Roots Radics
9. Plague Of Zombies - Roots Radics
Disc 2
1. Oh What A Feeling - Wailing Souls
2. You Are No Good - Michael Prophett
3. Love In My Heart - Wayne Jarrett
4. Hold On To What You Got - Michael Prophet
5. Firehouse Rock - Wailing Souls
6. Bandits Taking Over - Wailing Souls
7. Youthman - Michael Prophet
8. Love And Unity - Michael Prophet
9. He Can Surely Turn The Tide - Johnny Osbourne
10. Sweet Loving - Michael Prophet
Various Artists
Just A Bad Dream: Sixty British Garage And Trash Nuggets 1981-89 - 3CD Boxset
Cherry Red
Sometimes, a disparate crowd of random influences and a handful of scene-makers coalesce out of nothing, and before you know it a movement is happening. So it was in the UK in the early-to-mid-‘80s, when an unlikely set of bands resurrected the spirit of mid-‘60s Garage Rock. Fusing that sound with elements of the pre-Fab Four, Psych, Mod, Rockabilly and Psychobilly, and greasing the wheels of this new machine with a thick slab of post—punk sensibility, bands across the UK began to shout and holler like they hadn’t in years, capturing their work on often rough and ready recordings, issued on Big Beat, Hangman, Hit Records, Media Burn, Creation and other equally fried labels. From London, Medway and the South East to Edinburgh and beyond, the Trash movement spread, quickly reaching out into mainland Europe and beyond.
Here in the UK, Trash finally enjoyed its moment in the sunshine in 1984, when four of the scene’s key bands appeared on Channel 4’s flagship music show The Tube. Spiky, brash, loud and unfettered by delusions of grandeur, this is the sound of the post punk UK music scene looking backwards whilst moving forwards. Not for the faint-hearted, sure, and always likely to tell you where you can stick it, but this is a sound that has stuck. The garage and trash scene, albeit under different names and sprinkled with a layer of post-Millennial self-awareness, continues to thrive around the world. Wherever one finds guitars, amplifiers and the primal spirit, one finds Trash. Packed full of rarities and collectibles – the Medway Valley and Billy Childish related material is currently particularly sought after – ‘Just A Bad Dream’ will appeal to fans of ‘80s Psychedelia, Mod Revival, Indie, Psychobilly and, of course, the ‘60s Garage Rock that influenced so many of these artists.
Here in the UK, Trash finally enjoyed its moment in the sunshine in 1984, when four of the scene’s key bands appeared on Channel 4’s flagship music show The Tube. Spiky, brash, loud and unfettered by delusions of grandeur, this is the sound of the post punk UK music scene looking backwards whilst moving forwards. Not for the faint-hearted, sure, and always likely to tell you where you can stick it, but this is a sound that has stuck. The garage and trash scene, albeit under different names and sprinkled with a layer of post-Millennial self-awareness, continues to thrive around the world. Wherever one finds guitars, amplifiers and the primal spirit, one finds Trash. Packed full of rarities and collectibles – the Medway Valley and Billy Childish related material is currently particularly sought after – ‘Just A Bad Dream’ will appeal to fans of ‘80s Psychedelia, Mod Revival, Indie, Psychobilly and, of course, the ‘60s Garage Rock that influenced so many of these artists.
STAFF COMMENTS
Barry says: Clearly influenced by the flood of post-punk and rockabilly acts around the same time, Trash is a scuzzed-up version of garage, often recorded with little to no equipment and with more than an abundance of energy. Here we get the choicest nuggets, all collected on three jam-packed discs for your listening pleasure. Top collection.TRACK LISTING
DISC ONE:
1. LITTLE BY LITTLE – Thee Mighty Caesars
2. SUBMARINE SONG – The Cannibals
3. NEXT TIME AROUND – The Barracudas
4. JUNE RHYME - The Sting-Rays
5. HUP TWO THREE FOUR – Sid Presley Experience
6. WHAT I WANT – The Prisoners
7. JUST A BAD DREAM – The Bugs
8. A GLIMPSE - The Green Telescope
9. WRITHING ON THE SHAGPILE – The Dentists
10. GO GORILLA – Ug And The Cavemen
11. I HEAR NOISES – The Vibes
12. THE WHOLE WORLD IS TURNING BROUCHARD! – Biff Bang Pow!
13. DRIVE ME WILD – The Aardvarks
14. GET WHAT I CAN –
The Margin Of Sanity
15. LITTLE MISS MISFIT – The Discords
16. DIRTY JEAN – The Mild Mannered Janitors
17. 125 - Blow-Up
18. STROLL ON - Auntie Vegetable
19. MR UNRELIABLE – The Inmates
20. JUST CALL ME SKY – Naz Nomad And The Nightmares
DISC TWO:
1. YOU CAN'T POLISH A TURD – Sexton Ming
2. MUNSTERS THEME – The Escalators
3. VEGETABLE MAN – The Jesus And Mary Chain
4. RIDE THIS TORPEDO – The Tall Boys
5. DON'T LET HER DARK YOUR DOOR – The Thanes
6. THE CRUSHER - Bananamen
7. TALK - The X-Men
8. I WANT THAT GIRL - Emptifish
9. I DON'T CARE – The Morticians
10. SWAMP THING – The Meteors 11. WHAT'S HAPPENING –Jasmine Minks
12. AND IN ENGLAND THEY'RE GOING MENTAL - Nutmeg
13. LIVIN' IN MY OWN NIGHTMARE – Prime Movers
14. FEVER IN MY POCKET – The Mindreaders
15. NERVOUS BREAKDOWN – King Kurt
16. I KNOW YOU LIED – The Stayrcase
17. ONE MORE LETTER – The Daggermen
18. WAITING NATION – The Psylons 19. THE DEAD – The Wigs
20. YOUNG BLOOD (LIVE) – Thee Headcoats
DISC THREE:
1. YOU WEREN'T BORN YOU WERE CREATED (LIVE) – The Playn Jayn
2. BRAND NEW CADILLAC – Thee Milkshakes
3. DON'T BE SORRY – The Surfadelics
4. TOO FAR GONE - Marionette
5. NO GREAT SHAKES – The Beatpack
6. ROCK AND ROLL TRAITOR – The Unholy Trinity
7. HE TELLS ME HE LOVES ME – The Delmonas
8. LA JUICE – The Wolfhounds
9. GARBAGEBRAIN – Revolving Paint Dream
10. LEAVE ME ALONE –Clapham South Escalators
11. MY EMANCIPATION – The Primevals
12. SHELTER FROM THE RAIN – Change Lings
13. PLUTONIUM MIND SHOCK – The Surf Rats
14. THE CURSE - The Golden Horde
15. SO IT'S NOT TO BE – The Delmontes
16. FARMER JOHN – The Gruff Men
17. THE HELL TRAIN – The Krewmen
18. HELLHAG SHUFFLE - Sunglasses After Dark
19. RINGING IN MY EARS - The Jackals Of Fresh Kid
20. THIS IS THE END OF THE WORLD (DEMO) – The Screaming Dead
Over the past few years, London based DJ and curator Sam Don has shone new light into the Reggae sub-genre of Lovers Rock with his comps 'For the love of You'. His deep, yet deeply accessible selections have opened the ears of many to the genre.
With this new compilation 'Just A Touch' Sam shines his torch even deeper, this time through crates of UK Underground Soul. He painstakingly researched and tracking down each producer to bring you some of the sweetest soul cuts that will ever grace your eardrums.
Sam Don explains: Whilst the US is most well-known for soul music, the UK has created its own take on the genre, due to the melting pot of cultures and musical styles that makes the UK so special. I didn't 'set out' to make a compilation like this, but one night an idea came to me, and I sketched it out at home with my record collection. When I saw how well these sounds came together, I started my mission to find the people involved with them and 'Just A Touch' was created.
With this new compilation 'Just A Touch' Sam shines his torch even deeper, this time through crates of UK Underground Soul. He painstakingly researched and tracking down each producer to bring you some of the sweetest soul cuts that will ever grace your eardrums.
Sam Don explains: Whilst the US is most well-known for soul music, the UK has created its own take on the genre, due to the melting pot of cultures and musical styles that makes the UK so special. I didn't 'set out' to make a compilation like this, but one night an idea came to me, and I sketched it out at home with my record collection. When I saw how well these sounds came together, I started my mission to find the people involved with them and 'Just A Touch' was created.
TRACK LISTING
1. Bô'vel - Coming Back
2. Sam - Life (Club Mix)
3. Marcelle Moncrieffe - Take Me There
4. Kofi - Step By Step
5. Pure Silk - What You Do For Me
6. Jenny B - Sexy Eyes
7. Sonja Ryshard - Step Back
8. Cavalier - Don't Touch
9. Purely Fizzycal - Straight To The Top
10. Dennis Planter - I Still Dream Of You
11. Taffy - Passion
12. Weekend In Paris - Hold Your Head Up
• Vinyl-only compilation celebrating the birth of independent Punk Rock in the UK!
• Includes some of the scene’s key names – Alternative TV, U.K. Subs, 999, The Ruts, The Rezillos, The Boys, Angelic Upstarts, The Fall – alongside landmark collectable 45s by bands like Puncture, ‘O’ Level, The Wasps and The Rowdies.
• Limited edition of 1,000 copies!
When punk arrived in late 1976, the scene acted as a catalyst for an explosion of independent labels which swiftly sprung up around the UK. Named after a classic track by Manchester’s The Drones, ‘Just Want To Be Myself’ boasts classic sevens on imprints such as Small Wonder, The Label, Rough Trade, Dining Out, Deptford Fun City and Cherry Red (all London), Zoom (Glasgow), Attrix (Brighton), Heartbeat (Bristol), Good Vibrations (Belfast) and Bent (Manchester).
Many of the individuals and bands featured would later enjoy success in various incarnations – for example, The Pack mutated into Theature Of Hate, The Outsiders’ Adrian Borland attracted acclaim with his band The Sound, ‘O’ Level’s Edward Ball made an impact with various acts including The Times and Leyton Buzzards evolved into pop combo Modern Romance!
Pure Hell and The Electric Chairs’ Wayne County were American but eligible here because the tracks were recorded in the UK.
• Includes some of the scene’s key names – Alternative TV, U.K. Subs, 999, The Ruts, The Rezillos, The Boys, Angelic Upstarts, The Fall – alongside landmark collectable 45s by bands like Puncture, ‘O’ Level, The Wasps and The Rowdies.
• Limited edition of 1,000 copies!
When punk arrived in late 1976, the scene acted as a catalyst for an explosion of independent labels which swiftly sprung up around the UK. Named after a classic track by Manchester’s The Drones, ‘Just Want To Be Myself’ boasts classic sevens on imprints such as Small Wonder, The Label, Rough Trade, Dining Out, Deptford Fun City and Cherry Red (all London), Zoom (Glasgow), Attrix (Brighton), Heartbeat (Bristol), Good Vibrations (Belfast) and Bent (Manchester).
Many of the individuals and bands featured would later enjoy success in various incarnations – for example, The Pack mutated into Theature Of Hate, The Outsiders’ Adrian Borland attracted acclaim with his band The Sound, ‘O’ Level’s Edward Ball made an impact with various acts including The Times and Leyton Buzzards evolved into pop combo Modern Romance!
Pure Hell and The Electric Chairs’ Wayne County were American but eligible here because the tracks were recorded in the UK.
TRACK LISTING
Side 1
1. Eater Outside View
2. The Boys First Time (alternative Version)
3. The Rezillos I Can’t Stand My Baby
4. The Valves Robot Love
5. Puncture Mucky Pup
6. The Zeros Hungry
7. The Outsiders One To Infinity
8. The Electric Chairs On The Crest
Side 2
1. The Drones Just Want To Be Myself (lp Version)
2. Maniacs Chelsea 77
3. ‘o’ Level Pseudo Punk
4. The Carpettes Radio Wunderbar
5. The Wasps Teenage Treats
6. V2 Speed Freak
7. Social Security I Don't Want My Heart To Rule My Head
8. Patrik Fitzgerald Safety-pin Stuck Inmy Heart
Side 3
1. Angelic Upstarts The Murder Of Liddle Towers
2. Alternative Tv Action Time Vision
3. The Tights Bad Hearts
4. Leyton Buzzards 19 And Mad
5. The Rowdies A.c.a.b.
6. The Outcasts Just Another Teenage Rebel
7. U.k. Subs C.i.d.
8. The Fall Psycho Mafia
Side 4
1. The Ruts In A Rut
2. The Piranhas Jilly
3. Cockney Rejects Flares ‘n’ Slippers
4. Pure Hell These Boots Are Made For Walking
5. The Pack King Of Kings
6. 999 Found Out Too Late
7. The Adicts Easy Way Out
8. Spizzenergi Where's Captain Kirk?
The reggae productions of Bunny ’Striker’ Lee were so extensive in the early to mid 1970’s that labels were created just to handle his ever expanding output. Three labels that came about during this time when dub was king, were Jackpot, Justice and Attack. For this new compilation Jamaican Recordings look at the Justice label and have compiled a collection of some of its finest dub cuts.
Bunny was at the birth of dub music and worked closely with King Tubby. he stored many of his masters at Tubbys studio, where they were always available for Tubby to work his magic over. Jamaican Recordings have gathered here what they think are some of the best dub cuts from this label and era. Hope you enjoy the set...
Bunny was at the birth of dub music and worked closely with King Tubby. he stored many of his masters at Tubbys studio, where they were always available for Tubby to work his magic over. Jamaican Recordings have gathered here what they think are some of the best dub cuts from this label and era. Hope you enjoy the set...
Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day.
Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”
The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.
Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”
The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.
TRACK LISTING
LP Tracklist:
1. Princess Aya Sarah – O Wina Tienge
2. Meta & Feza – Mivé Temoin
3. The African House Party Project Feat. Splash, Patricia Majalisa & Dalom Kids – P-Coq
4. V-Mash – Naughty Boy
5. Di Groovy Girls – Ririmi Rotsombela
6. Tshala Muana – Djepué
7. Lady Isa – Djambo
8. Pembey Sheiro – Sala Ni Toto
9. Princesse Mansia M’Bila – Ngoma Mansia
10. Samba Mapangala And Orchestra Virunga – Mashariki
11. International Zaistars & Nene Tshaku – Je T’Aime Au Pluriel
12. M.D. Shirinda & Gaza Sisters – Mabazi
13. “Bwaluka” Founders Band – Kimbera
CD Tracklist:
1. Princess Aya Sarah – O Wina Tienge
2. Meta & Feza – Mivé Temoin
3. The African House Party Project Feat. Splash, Patricia Majalisa & Dalom Kids – P-Coq
4. V-Mash – Naughty Boy
5. Di Groovy Girls – Ririmi Rotsombela (Kampire Dance Edit)
6. Tshala Muana – Djepué
7. Lady Isa – Djambo
8. Pembey Sheiro – Sala Ni Toto
9. Princesse Mansia M’Bila – Ngoma Mansia
10. Samba Mapangala And Orchestra Virunga – Mashariki
11. International Zaistars & Nene Tshaku – Je T’Aime Au Pluriel
12. M.D. Shirinda & Gaza Sisters – Mabazi (Kampire Dance Edit)
13. “Bwaluka” Founders Band – Kimbera
When Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R&B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.
There were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation. Kearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s.
It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV. “However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”
There were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation. Kearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s.
It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV. “However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”
STAFF COMMENTS
Millie says: Kearney Barton’s recordings was what he dedicated his life too, the passion for music runs deep.This compilation is the essentials from his collection over the many years and highlight all the best from Seattle ranging from the 60’s through to 80’s. A joy to listen to!TRACK LISTING
SIDE A
1. Introduction – Kearney Barton
2. Hey Little One – Woody Carr & The Entertainers
3. Through Eyes And Glass – Ann Wilson & The Daybreaks
4. Bold Soul Sister, Bold Soul Brother – Black On White Affair
5. Occupation Soul – Occupation Soul
6. Sticky – James Henry & The Olympics
7. Dig That Crazy Jam Session – Valamont
8. Two Guitars – Serge Lusgins & His Russian Balalaika Orchestra
SIDE B
1. Ooze – Valamont
2. Flying Bird – Tropical Rainstorm
3. Spanish Harlem – Prabha Devi
4. Happy – Secret Dynamics
5. Introducing A New Concept – Kearney Barton
6. Hold To God's Unchanging Hand – Beacon Hill First Baptist Choir
7. Everybody Knows – Sweet Rolle
8. Wrong Age – MUF
SIDE C
1 With Five Types Of Music – Kearney Barton
2 Qui El Petit – Wilkins
3 Gold + Mellow – Fox-Brownsmith
4 Sunshine Morning – Keith Kessler
5 Bossa Nada – Chuck Mahaffay & The Individuals
6 For All We Know – Patty Waters
SIDE D
1 MMM MMM MMM – Dave Lewis
2 Don't Ask Me – Tiki & The Fabulons
3 He's Waitin' – The Sonics
4 High Flyer – Magic Fern
5 Blind Love – The Cuidads
6 All My Nights, All My Days – The Wailers
7 Mr. Blue – Fury Four
Fantastic collection of rockabilly compiled by Keb Darge.
Stag-O-Lee is proud to continue the DJ-Set Series with compilation by cult DJ and master of many compilations Keb Darge.
Rockabilly didn’t cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn’t really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott’s stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, “Little Bit Lonesome” by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened.
Keb Darge, London October 2020.
Stag-O-Lee is proud to continue the DJ-Set Series with compilation by cult DJ and master of many compilations Keb Darge.
Rockabilly didn’t cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn’t really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott’s stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, “Little Bit Lonesome” by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened.
Keb Darge, London October 2020.
TRACK LISTING
Side A.
01. Fender IV - Everybody Up
02. The Sonics - Marlene
03. James Mask - Hootchie Coochie Gal
04. John Worthan - The Cats Were Jumpin'
05. Vince Maloy - Hubba Hubba Ding Ding
06. Don Wade - Gone, Gone, Gone
07. Billy Wayne - I Love My Baby
08. Wally Willette And His Globe Rockers - Pink Elephants
Side B.
01. Darrell Rhodes And The Falcons - Four O'Clock Baby
02. Arlie Miller And The Bullets - Lou Ann
03. Cruisers - Betty Ann
04. Joe D. Johnson - Rattlesnake Daddy
05. Bobby McDowell - Lonely
06. Jerry Arnold And The Rhythm Captains - Can't Do Without You
07. Gene Terry - The Woman I Love
08. Glen Glenn - Blue Jeans And A Boys' Shirt
Side C.
01. Red Moore - Crawdad Song
02. Maylon Humphries And His Tri-Seniors - Worried 'Bout You Baby
03. Van Brothers - Servant Of Love
04. Sonny Fisher - Sneaky Pete
05. Benny Cliff Trio - Shake Um Up Rock
06. Gene Norman - Snaggle Tooth Ann
07. Tommy Nelson - Hobo Bop
08. Lloyd McCollough - Gonna Love My Baby
Side D.
01. Don Ellis And Royal Dukes - Blue Fire
02. Sonny Wallace - Black Cadillac
03. Floyd Mack - I Like To Go
04. Rod Morris - Alabama Jailhouse
05. Carl Trantham And The Rhythm Allstars - Where There's A Will
06. Jim Oertling - Back Forty
07. Hodges Brothers - I'm Gonna Rock Some Too
08. Lonesome Drifter - Eager Boy
Various Artists
Keb Darge Presents The Best Of Ace Rockabilly 14 Raw And Rare Rockabilly Tracks Hand-selected By Keb Darge
Ace Records
Legendary international DJ, Keb Darge, fell under the spell of this music when his Japanese girlfriend forced him to go down to a ‘Rockabilly’ night back in 1989. As soon as the DJ dropped the needle on Johnny Burnette’s ‘Rockabilly Boogie’ Keb was mesmerized. He was soon hunting down the hideously rare top tunes and slipping thousands of pounds into specialist collectors like Boz Boorer’s back pocket, when the legendary guitarist was not recording or touring with Morrissey. Of course, Keb was then taking these records and introducing them to new audiences in his DJ sets worldwide.
Although it has taken an age to persuade him, Keb has now applied his perfectionist compiling skills to pick 14 killers to grace this fantastic collection. Ranging from the bopping Glen Glenn’s ‘Blue Jeans and A Boy’s Shirt’ to the almost hillbilly Jimmy Johnson’s ‘All Dressed Up’. This is a must-have compilation not only for those who have been oiling their quiffs for decades, but also those wondering what this “rockabilly” is all about. Keb drops you in at the deep end with no easy-going fillers, and you’ll be glad he did.
Keb has written the sleeve notes and with cover art by the legendary Robin Banks – this album looks as good as it sounds.
Although it has taken an age to persuade him, Keb has now applied his perfectionist compiling skills to pick 14 killers to grace this fantastic collection. Ranging from the bopping Glen Glenn’s ‘Blue Jeans and A Boy’s Shirt’ to the almost hillbilly Jimmy Johnson’s ‘All Dressed Up’. This is a must-have compilation not only for those who have been oiling their quiffs for decades, but also those wondering what this “rockabilly” is all about. Keb drops you in at the deep end with no easy-going fillers, and you’ll be glad he did.
Keb has written the sleeve notes and with cover art by the legendary Robin Banks – this album looks as good as it sounds.
TRACK LISTING
Side One
1. Blue Jeans And A Boy's Shirt - Glen Glenn
2. The Woman I Love - Gene Terry & His Kool Kats
3. Sweet Love - Orangie Ray Hubbard
4. Jello Sal - Benny Ingram
5. Lonesome Baby Blues - David Ray
6. Do Me No Wrong - Pat Cupp & The Flying Saucers
7. Cool Off Baby - Billy Barrix
Side Two
1. Let's Go Bopping Tonight –
Al Ferrier & His Bopping Billies
2. Jitterbop Baby - Hal Harris
3. Raw Deal - Junior Thompson With The Meteors
4. Nuthin' But A Nuthin' –
Jimmy Stewart & His Nighthawks
5. I'm Doing All Right - Jerry Hanson
6. Where There's A Will (There's A Way) –
Carl Trantham & The Rhythm All Stars
7. All Dressed Up – Jimmy Johnson
• A 76 track celebration of all things Manchester from 1977 to 1981.
• A comprehensive look at the city’s sounds featuring Buzzcocks, Joy Division, New Order, The Fall, John Cooper Clark, Durutti Column, A Certain Ratio, The Freshies, Slaughter & The Dogs, Magazine and many more.
• Includes tracks featuring many future stars of the Manchester music scene, such as Mick Hucknall (Simply Red), Martin Coogan (The Mock Turtles), Graham Massey (808 State), Mike Joyce (The Smiths) and Chris Sievey (Frank Sidebottom).
Back in 2017, Cherry Red unveiled a mammoth 7-CD compendium entitled ‘Manchester North Of England’, which attempted to document the city’s vibrant music scene from punk to Britpop. Six years on, ‘Keeping Control’ is the sequel, a modest triple-disc retrospective concentrating on music from the punk and post-punk years.
‘Keeping Control’ boasts the “name” bands out of Greater Manchester from that period, however, the underlying musical story of this box set lies with the lesser-known Manchester Musicians Collective. A catalyst for many musicians at the time, the MMC organised gigs, other activities and encouragement to the many and varied talents emerging in the region during punk and its aftershocks.
Louise Alderman, co-founder of the Manchester Musicians Collective, has written a foreword for the box set, which is named after the MMC’s short-lived fanzine. Via Louise’s band mate in Manchester Mekon, Frank Ewart, we also have a few previously unissued tracks by acts closely affiliated with the organization. At the time, the Collective was celebrated across two albums, ‘A Manchester Collection’ and ‘Unzipping The Abstract’ (both 1980) – and most of the artists from these releases are represented.
Beyond the MMC, Manchester enjoyed a thriving independent scene from 1977 onwards, inspired by Buzzcocks’ debut EP on New Hormones, Rabid, TJM, Object Music, Absurd, Bent and last but certainly not least Factory … each of them carved a different furrow. Outside of the gravitational pull of London, which exerted such a strong pull across the South of England, Manchester evolved its own unique identity, often mixing sharp humour with seemingly bleak, desolate-sounding music (reflecting the city’s hardship during that time).
• A comprehensive look at the city’s sounds featuring Buzzcocks, Joy Division, New Order, The Fall, John Cooper Clark, Durutti Column, A Certain Ratio, The Freshies, Slaughter & The Dogs, Magazine and many more.
• Includes tracks featuring many future stars of the Manchester music scene, such as Mick Hucknall (Simply Red), Martin Coogan (The Mock Turtles), Graham Massey (808 State), Mike Joyce (The Smiths) and Chris Sievey (Frank Sidebottom).
Back in 2017, Cherry Red unveiled a mammoth 7-CD compendium entitled ‘Manchester North Of England’, which attempted to document the city’s vibrant music scene from punk to Britpop. Six years on, ‘Keeping Control’ is the sequel, a modest triple-disc retrospective concentrating on music from the punk and post-punk years.
‘Keeping Control’ boasts the “name” bands out of Greater Manchester from that period, however, the underlying musical story of this box set lies with the lesser-known Manchester Musicians Collective. A catalyst for many musicians at the time, the MMC organised gigs, other activities and encouragement to the many and varied talents emerging in the region during punk and its aftershocks.
Louise Alderman, co-founder of the Manchester Musicians Collective, has written a foreword for the box set, which is named after the MMC’s short-lived fanzine. Via Louise’s band mate in Manchester Mekon, Frank Ewart, we also have a few previously unissued tracks by acts closely affiliated with the organization. At the time, the Collective was celebrated across two albums, ‘A Manchester Collection’ and ‘Unzipping The Abstract’ (both 1980) – and most of the artists from these releases are represented.
Beyond the MMC, Manchester enjoyed a thriving independent scene from 1977 onwards, inspired by Buzzcocks’ debut EP on New Hormones, Rabid, TJM, Object Music, Absurd, Bent and last but certainly not least Factory … each of them carved a different furrow. Outside of the gravitational pull of London, which exerted such a strong pull across the South of England, Manchester evolved its own unique identity, often mixing sharp humour with seemingly bleak, desolate-sounding music (reflecting the city’s hardship during that time).
STAFF COMMENTS
Darryl says: Following Cherry Red’s 2017 ‘Manchester North Of England’ 7CD box set, this trimmed down 3CD follow up concentrates on the punk/post-punk scenes. Across its 76 tracks ‘Keeping Control’ features Mancunian legends such as the Buzzcocks, Joy Division, New Order, The Fall, John Cooper Clark, Durutti Column, ACR, Magazine and many more.TRACK LISTING
DISC ONE
1 BUZZCOCKS Orgasm Addict
2 SLAUGHTER AND THE DOGS The Bitch
3 THE NOSEBLEEDS Fascist Pigs
4 THE DRONES City Drones
5 THE PANIK Murder
6 V2 Nothing To Do
7 JILTED JOHN Jilted John
8 GYRO Central Detention Centre
9 SALFORD JETS Lookin’ At The Squares
10 JOHN THE POSTMAN’S PUERILE Kawalski Of The Seaview Has Got The Best Hairstyle I’ve Ever Seen
11 ALBERTO Y LOST TRIOS PARANOIAS Fuck You
12 JOHN COOPER CLARKE I Don’t Want To Be Nice
13 THE TEARDROPS Pompous
14 PASSAGE Slit Machine
15 SPHERICAL OBJECTS Sweet Tooth
16 STEVE MIRO Smiling In Reverse
17 JOY DIVISION Digital
18 THE SMIRKS American Patriots
19 NOTSENSIBLES Lying On The Sofa
20 48 CHAIRS Psycle Sluts
21 EDDIE FICTION UFO Part 2
22 MELLOTRON Warriors From Space
23 SPEED She’s All There
24 GENOCIDE Renegade
25 SISTER RAY Suicide
26 EDDIE MOONEY & THE GRAVE I Bought Three Eggs
27 GERRY AND THE HOLOGRAMS
DISC TWO
1 THE FALL Flat Of Angles
2 STEROID KIDDIES Seaside Teaser
3 DIRECT HITS Back To The Sixties
4 FOREIGN PRESS Crossfire
5 CRISPY AMBULANCE Motorway Boys
6 I.Q. ZERO Insects
7 ACCIDENT ON THE EAST LANCS. We Want It Legalized
8 THE OUT Who Is Innocent?
9 GODS GIFT These Days
10 MUD HUTTERS Danger
11 PATHETIX Love In Decay
12 PRIVATE SECTOR Just Wanna Stay Free
13 THE FRANTIC ELEVATORS Hunchback Of Notre Dame
14 FAST CARS You’re So Funny
15 MISS KATE Ebony Eyes
16 GROW-UP The Best Thing
17 PROPERTY OF… Dance Like You’re Dead *
18 THE DISTRACTIONS Doesn’t Bother Me
19 THE DURUTTI COLUMN Sketch For Summer
20 BET LYNCH’S LEGS Riders In The Sky
21 THE HOAX Storm Trooper
22 MANICURED NOISE Metronome
23 MAGAZINE A Song From Under The Floorboards
24 VIBRANT THIGH Walking Away
25 ENIGMA Play With Fire
26 THE STILL 9.5
27 SPURTZ Boyfriends Or Your Money Back
28 THE CHARLIE PARKAS Space Invaders
DISC THREE
1 IF ONLY Puppet Masters
2 THE CHEATERS (I Wanna Be A) Policeman
3 MANCHESTER MEKON Must Have More Wheels
4 BATHROOM RENOVATIONS Apathetic Hell
5 THE LIGGERS Recorded Or Live *
6 SECTION 25 Knew Noise
7 THE DIAGRAM BROS. There Is No Shower
8 THE THINGS Pieces Of You
9 DISLOCATION DANCE Familiar View
10 MARTIN HANNETT The Music Room
11 BLUE ORCHIDS The Flood (Demo) *
12 KEVIN HEWICK Haystack
13 ELECTRA COMPLEX Magic *
14 HAMSTERS Animal
15 BITING TONGUES You Can Choke Like That
16 THE FRESHIES Wrap Up The Rockets
17 LUDUS Hugo Blanco
18 MOTHMEN Temptation
19 A CERTAIN RATIO Waterline
20 BEE VAMP Lucky Grills
21 NEW ORDER Everything’s Gone Green
Soundway Records present 'Kenya Special - Selected East African Recordings From The 1970s & '80s' - a treasure-trove of rare and unusual recordings from East Africa. Spread out over two CDs and one triple LP, 'Kenya Special' is accompanied by detailed liner notes, original artwork and photographs. It follows on from Soundway's much acclaimed African 'Special' series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana. 'Kenya Special' is a collection of 32 recordings (most of which were only ever released on small-run 45rpm 7" singles) that stand out as being different or unique as well as some classic genre standards. From Kikuyu language 'liquid soul', Luo benga and Swahili afro-beat to genre-bending Congolese and Tanzanian tracks recorded in Nairobi, 'Kenya Special' sees Soundway yet again taking the less trodden path. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Kenya was at the time.
In 1970s Kenya the two threads of rumba and benga loosely dominated the music scene. Benga quickly became Kenya's unique contribution to afro-pop; spreading like wildfire through the interior countryside with its fast, 4/4 machine-gun beat and intricate electric guitar layers. The Congolese take on Afro-Cuban rumba was introduced by touring bands many of whom settled in East Africa - influencing bands from Kenya and Tanzania to come up with their own take on this popular style. Alongside these styles were small ensembles and hotel-sponsored bands, playing a blend of music that often included rock & roll riffs, elements of 'afro' music (influenced by West African musicians like Fela Kuti), and multiple other combinations from South African and Zambian guitar styles to disco, funk and Swahili coastal rhythms like chakacha. Painstakingly compiled, assembled and researched over two years by a team of five people from five countries (Kenya included), 'Kenya Special' is a collection that looks beyond the mainstream and brings new life and recognition to some little known gems and forgotten classics of Kenya's past.
In 1970s Kenya the two threads of rumba and benga loosely dominated the music scene. Benga quickly became Kenya's unique contribution to afro-pop; spreading like wildfire through the interior countryside with its fast, 4/4 machine-gun beat and intricate electric guitar layers. The Congolese take on Afro-Cuban rumba was introduced by touring bands many of whom settled in East Africa - influencing bands from Kenya and Tanzania to come up with their own take on this popular style. Alongside these styles were small ensembles and hotel-sponsored bands, playing a blend of music that often included rock & roll riffs, elements of 'afro' music (influenced by West African musicians like Fela Kuti), and multiple other combinations from South African and Zambian guitar styles to disco, funk and Swahili coastal rhythms like chakacha. Painstakingly compiled, assembled and researched over two years by a team of five people from five countries (Kenya included), 'Kenya Special' is a collection that looks beyond the mainstream and brings new life and recognition to some little known gems and forgotten classics of Kenya's past.
Working in a fine and forward thinking establishment like Piccadilly, you come across a lot of obscure and unheard music - and letting you into a little secret, you don't love all of it. But, there are some records which unite every single member of staff and the majority of customers in bright eyed enthusiasm. Soundway's "Kenya Special" compilation was one of these treats, a true milestone in East African compilations and an eye opening, ear pleasing journey into a far flung corner of the world. Now Soundway return with the latest in their African 'Special' compilation series, returning to Kenya to collect 20 extremely rare recordings, undiscovered in previous compilations. This time round, the team of compilers have gone to even greater lengths to share a small part of what is slowly being accepted as an essential element of East Africa’s cultural heritage: the history of recorded popular music. The songs you'll find within this triple LP set bend the rules, break away from existing genres and sometimes experiment with foreign music trends. The approach to musical rediscovery behind "Kenya Special : Volume Two" has its origins in a youthful movement of vinyl collecting as well as, to some extent, club culture. In other words, it's a gift to the DJs, dancers, collectors and frankly, anyone with ears.
As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own
As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.
As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.
TRACK LISTING
1. Unloved - It's Not You, It's Me
2. Fabienne Delsol - I'm Gonna Haunt You
3. Unloved - Damned
4. Poppy Family - Where Evil Grows
5. Unloved - Remember
6. Fireflies - She's My Witch (Edit)
7. Unloved - Tell Mama (Killing Eve)
8. Le Volume Courbe - Born To Lie
9. Unloved - I Could Tell You But I'd Have To Kill
10. Unloved - Her (Killing Eve)
11. Unloved - Lee
12. Jane Weaver - Modern Kosmology
13. Dalida - Vai Tu Sei Libero
14. The Delmonas - Dangerous Charms
15. Ramases - Screw You
16. Jacqueline Taieb - La Plus Belle Chanson
17. Willeke Alberti - Vlinder Van Een Zomer (Angel Of The Morning)
18. Bertrand Belin - Comment ça Se Danse
19. Cigarettes After Sex - Opera House
'Cries From The Youth' rounds up 32 reggae masters produced by the mighty King Jammy.
The revolutionary sound of King Jammy Super Power super- charged 80's dancehalls, shining the spotlight on a new generation of rising stars while bringing 70's elders like Dennis Brown, Sugar Minott and Junior Murvin into the dancehalls.
The revolutionary sound of King Jammy Super Power super- charged 80's dancehalls, shining the spotlight on a new generation of rising stars while bringing 70's elders like Dennis Brown, Sugar Minott and Junior Murvin into the dancehalls.
STAFF COMMENTS
Martin says: Another haul of imperative Jammy productions spanning the late 70s and 80s period as the producer began to lay the foundations of what would become dancehall.TRACK LISTING
LP Tracklisting
1. Storm Is Coming - Junior Delgado
2. Up-Full One - Dennis Brown
3. Got To Be Strong - Pad Anthony
4. Why Should I - Admiral Tibet
5. Only The Poor Man Feel It - Kentucky
6. Chain Grabber - Johnny Osbourne
7. Cry For The Youths - Wackad
8. Victim Of Babylon - Admiral Tibet
9. World Inflation - Junior Murvin
CD Tracklisting
1. Storm Is Coming - Junior Delgado
2. Up Full One - Dennis Brown
3. Gotta Be Strong - Pad Anthony
4. Only The Poorman Feel It - Kentucky
5. 5chain Grabber - Johnny Osbourne
6. Cry For The Youths - Wackad
7. Why Should I - Admiral Tibet
8. In The Ghetto - Little John
9. E20 - Wayne Smith
10. Jam In The Street - Sugar Minott
11. Possy - Cocoa Tea
12. Sugar Me - Conroy Smith
13. Hot We Say We Hot - Eccleton Jarrett
14. Ram Up Every Corner - Tonto Irie
15. Ram Dance Man - Leslie Thunder
16. You Pack Up And Gone - King Kong
17. Victim Of Babylon - Admiral Tibet
18. His Majesty Reign - Cultural Roots
19. World Inflation - Junior Murvin
20. Stop The Violence - Junior Delgado
21. Don't Take Your Gun To Town - Al Campbell
22. Conscious Lover - Sugar Minott
23. It's Too Late - Michael Palmer
24. Move On - Wailing Souls
25. So Dem Come, So Dem Go - Nitty Gritty
26. In The Ghetto - Richie Stephens
27. Trash And Ready - Super Cat
28. Fuck Fowl - Bunny General
29. Bucket A Shit -Little Twitch
30. Bad Girls - King Everald
31. Mouth A Massy Liza - Super Black
The "Digital Revolution" occurred in the Jamaican music industry by a single rhythm called "Sleng Teng". The responsible person for the rhythm was King Jammy who was the owner and producer of the Jammys label. The label dominated the scene between 1985 and 1989, and released a vast number of material. Dub Store Records compiles the best of the 80's heavyweight Dancehall from the Jammys catalogue. The collection consists of "Disc One: Vocals & Deejays" and "Disc Two: Instrumental Dub Version". Each disc features popular songs and instrumental dub versions on the "Heavenless", "Love Punanny Bad" and "Far East" rhythms, among others. They also include rare collector's tunes like Anthony Johnson's 'Dancehall Vibes', and some of the tracks appear for the first time on CD format.
TRACK LISTING
1. Johnny Osbourne - In The Area (What A La La)
2. Nitty Gritty - Good Morning Teacher
3. Dennis Brown - The Exit
4. Wayne Smith - My Lord My God
5. Little Kirk - Don't Touch The Crack
6. Wayne Smith - In Thing
7. Wayne Smith - Icky All Over
8. Tonto Irie - Life Story
9. Chaka Demus - Original Kuff
10. Chuck Turner - We Rule The Dancehall
11. Robert Lee - Come Now
12. Wayne Smith - E20
13. Junior Murvin - Jack Slick
14. Anthony Johnson - Dancehall Vibes
15. Eccleton Jarrett - Rock Them One By One
16. Robert Lee & Bunny General - Midnight Hour
17. Red Dragon - Jam Down Posse
18. Johnny Osbourne - We Gonna Rock It Tonight (Dub Plate Playing)
19. Leslie Thunder - Ram Dance Man
20. Robert Lee - Love Me Stylee
21. King Jammys - In The Area (Version)
22. King Jammys - The Exit (Version)
23. King Jammys - Don't Touch The Crack (Version)
24. King Jammys - In Thing (Version)
25. King Jammys - Icky All Over (Version)
26. King Jammys - We Rule The Dancehall (Version)
27. King Jammys - Original Kuff (Version)
28. King Jammys - Come Now (Version)
29. King Jammys - E20 (Version)
30. King Jammys - Jack Slick (Version)
31. King Jammys - Rock Them One By One (Version)
32. King Jammys - Midnight Hour (Version)
33. King Jammys - Jam Down Posse (Version)
34. King Jammys - We Gonna Rock It Tonight (Version)
35. King Jammys - Love Me Stylee (Version)
Although better known for his dub experiments, King Tubby also got involved with the dancehall scene too, and following the recent interest said genre (and the whole King Jammy's campaign) we now see a tidy collection of tracks from the late producer's archives that flirt between the later incarnations of reggae music with digi-vibes a plenty combined with the thick sub bass which categorized the sound in the mid 80s. Unlike part 1 which featured straight re-issues from his Waterhouse sub label, part 2 flirts with the idea of 'specials' or 'dubplates' - rhythm tracks that would be lent out to a specific producer and vocalist for them to record personal sound system cuts, that would be used in the tradition 'sounds' battles across Jamaica. Featuring Paul Crossdale on keys, Melbourne Miller on drums, Donald Dennis on bass and introduced by soundboy Alty 'Fuzzy Jones', ten instrumental, digital rhythms for your MC to toast fi in the dance. Big ting!
TRACK LISTING
1 Kill A Pan
2 Tan Good
3 Nah Run Weh
4 Lick Shot
5 Death Row
6 We Rule
7 Fade Out
8 Play Play
9 Brand New Sound
10 Make Them Pay
The "Kings Of..." series continues in its aim of bringing us forgotten and neglected gems from the a variety if different musical genres. For the ninth outing the label delves into the vast world of electro, with the help of influential DJ / designer / producer and remixer Trevor Jackson, aka Playgroup, and production / remix duo Alter Ego, who bring us a selection of their favourite electro tracks. On LP part 2 Alter Ego bring us the present day incarnation of electro, exploring a range of contemporary styles influenced by early electro. Includes releases on labels like UR, M_Nus, Planet E and Basic Channel. Azzido Da Bass, Robert Hood, Galaxy To Galaxy, Dopplereffekt, Maurizio and Maurice Fulton are all featured.
1973-1976 was a period in Reggae’s history when the music coming from Kingston, Jamaica was at its peak.
So many talented singers,who sang soulful / righteous songs found their way onto tape. Maybe it was the competition between the studios like Randys, Channel 1 and Harry J’s and the quality of the singers available to sing these tunes. But whatever caused the explosion the mighty voices of Horace Andy, Cornell Campbell, Johnny Clarke and Ronnie Davis never sounded better.
The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios. Then taken to King Tubby’s home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston. This is where the great Dubmaster himself would record the vocal tracks. A method in which he preferred to work and then mix the tracks Tubby style. We have travelled to Jamaica and listened to hours of master tapes to bring this set to you. So please sit back and enjoy what we believe to be a wicked set by Kingston’s finest.
So many talented singers,who sang soulful / righteous songs found their way onto tape. Maybe it was the competition between the studios like Randys, Channel 1 and Harry J’s and the quality of the singers available to sing these tunes. But whatever caused the explosion the mighty voices of Horace Andy, Cornell Campbell, Johnny Clarke and Ronnie Davis never sounded better.
The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios. Then taken to King Tubby’s home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston. This is where the great Dubmaster himself would record the vocal tracks. A method in which he preferred to work and then mix the tracks Tubby style. We have travelled to Jamaica and listened to hours of master tapes to bring this set to you. So please sit back and enjoy what we believe to be a wicked set by Kingston’s finest.
"Kiosque Of Arrows 2" is Detlef Weinrich's (a.k.a. Tolouse Low Trax) first compilation for Bureau B. Echoing the spirit of the legendary samplers found on Les Disques Du Crépuscule or Made To Measure, this hybrid journal collates unusual pieces of music - rare and undiscovered pearls from the experimental underground of the early 1980s through to contemporary unreleased recordings It all helps to pinpoint Tolouse Low Trax as artist and curator in the grander scheme of things, whilst evoking the spirit of countless nights at the Düsseldorfer Salon des Amateurs.
TRACK LISTING
A1. Macromassa - El Consecuente Aspecto De Geometria
A2. The Stupid Set - Basset
A3. DsorDNE - Il Senso Di Torpore
A4. Techno Twins - Donald & Julie Go Boating
A5. Venus In Furs - La Valse De Salon
A6. Javier Segura - Camino Largo
B1. Bassae - Oedipa Maas Y Los Atomos
B2. Lydia Tomkiw - Hot June Evening
B3. Iueke & Lippie - Van Gogh - La Farandole Op1
B4. Kaoru Hirose - Dah-May-Yoo
B5. Viola Renea - Chariot Of Palace
"Kitsuné Maison Compilation 11" arrives with rare and exclusive tracks by Is Tropical, Creep, Peter & The Magician, Housse de Racket and Polarsets, amongst others. The Parisian label continues to mine that bit of the Venn diagram where indie-pop meets electro-dance, with Kitsuné’s head-honcho Gildas Loaec finding the combination of guitars and electronics one of the most exciting areas in music today. Kitsuné have always supported this fusion and believed a good part of the future will come from that. So here’s Kitsuné’s selection of what’s best in the genre at the moment.
TRACK LISTING
01. - Let’s Go All The Way” (Early Version)
02. Alexander Dexter Jones – Phantastic Phone Call
03. Housse De Racket - Roman
04. Polarsets - Sunshine Eyes
05. Gallops - Miami Spider (Ponciau Edit)
06. Cosmonaut – Say What You Want
07. Creep – Days (Azari & III Remix)
08. Is Tropical – The Greeks
09. Peter & The Magician – Twist
10. The Touch – Sermon
11. Logo X Icona Pop – Luvsick
12. Beat Connection – Silver Screen
13. Nightbox – Pyramid
14. Guards – Resolution Of One
15. Fiction – Big Things
16. Exotica – Conte D’Eté (Afrofunk Version)
Since 2005, Kitsune Maison have gathered together a collection of what gets played in the Kitsune offices in Paris, what Gildas and Masaya spin at parties they DJ at, and what stands out from the promising new contacts they pick up all over the world. This music then gets put on a CD compilation, and you are looking at number six in the series. Riding the wave of the 00s electro boom (electro-rock, electroclash, electrohouse), the label always comes up with some goodies, whether they're from major label outfits, or complete unknowns. Some will release their future albums on Kitsune and others already have A&R people biting their nails in pursuit of the next big thing. Includes tracks by La Roux, Pnau, You Love Her Coz She's Dead, Digitalism, Etienne de Crecy Et Monsieur Jo, We Have Band, Grovesnor, Appaloosa, The Shoes and many more.
Hot on the heels of Phoenix and Digitalism, who previously selected and mixed the 'Kitsuné Tabloid' compilations, Rio's finest - The Twelves - deliver not one, but two full-of-funk eclectic mixes.
For this third edition of the 'Kitsuné Tabloid', Brazilian producers The Twelves have picked and mixed together some of their favourite tracks to create their dream compilation. Famous for their hot remixes of the likes of MIA, La Roux, Yelle and Kylie Minogue, the pair have carved a niche for themselves in the international dance community and have become renowned producers.
The first part of this mix ('A Side') is composed of unreleased dubs of some of their own remixes, with amongst others Munk’s meaningful 'Violent Love’, TDCC’s indie dance piece ‘Something Good Can Work’ and one original composition from The Twelves themselves, 'Handshake’. The second part ('B Side') is the perfect synthesis of electro, synth pop and very 70s-like disco funk, with an exciting selection of tracks including Ratatat’s ‘Wildcat’, Twin Shadow’s ‘Shooting Holes’ or Shit Robot’s ‘Take ‘em Up’.
For this third edition of the 'Kitsuné Tabloid', Brazilian producers The Twelves have picked and mixed together some of their favourite tracks to create their dream compilation. Famous for their hot remixes of the likes of MIA, La Roux, Yelle and Kylie Minogue, the pair have carved a niche for themselves in the international dance community and have become renowned producers.
The first part of this mix ('A Side') is composed of unreleased dubs of some of their own remixes, with amongst others Munk’s meaningful 'Violent Love’, TDCC’s indie dance piece ‘Something Good Can Work’ and one original composition from The Twelves themselves, 'Handshake’. The second part ('B Side') is the perfect synthesis of electro, synth pop and very 70s-like disco funk, with an exciting selection of tracks including Ratatat’s ‘Wildcat’, Twin Shadow’s ‘Shooting Holes’ or Shit Robot’s ‘Take ‘em Up’.
TRACK LISTING
A Side:
01. The Twelves – Handshake (dub)
02. Munk – Violent Love (The Twelves Tabloid Dub)
03. Zeigeist – Humanitarianism (The Twelves Tabloid Mix)
04. Metric – Help I’m Alive (The Twelves Tabloid Mix)
05. Two Door Cinema Club – Something Good Can Work (The Twelves Tabloid Dub)
06. Black Strobe – Me & Madonna (The Twelves Tabloid Mix)
07. French Horn Rebellion Vs Database – Beaches & Friends (The Twelves Tabloid Mix)
B Side:
01. Ratatat – Wildcat
02. Reverso 68 – Piece Together (Part 1)
03. Sasse Feat Kiki – Loosing Touch
04. Chaz Jankel – Without You
05. Spirit Catcher – Rollercoaster
06. Siriusmo – Last Dear
07. Shit Robot – Take ‘Em Up
08. Pol Rax – For You
09. The Paradise – In Love With You
10. The Juan Maclean – The Simple Life
11. Alexander Robotnick – Problèmes D’Amour Demo (Fafa Monteco Edit)
12. Daniel Wang – Echo By Midnight
13. Alan Braxe & Fred Falke – Palladium
14. Tommy Seebach – Bubble Sex
15. Zombi – Sapphire
16. Zongamin – Painless
17. Twin Shadow – Shooting Holes
This compilation represents an initial – and long overdue – foray into the years 1980 - 82, when KLAR! 80 was a cassette label, paired with a shop of the same name in Düsseldorf. Founded by Rainer Rabowski, KLAR!80 released 18 cassettes of varying length and a box set containing three 12” vinyl Eps which fetch handsome prices among collectors nowadays.The KLAR!80 - Ein Kassettenlabel aus Düsseldorf 1980-1982 collection reaches even further back in time than the SAMMLUNG - Düsseldorfer Kassettenmusik 1982-1989 (BB236/2017) collection, similarly curated by Stefan Schneider, which focused on the mid-1980s Düsseldorf cassette scene. It captures the brief period between the end of punk and the looming capitalisation and digitalisation of so many aspects of life.
RICHARD FEARLESS (Death In Vegas) curates KOLLEKTION 4: a compilation featuring a selection of almost 200 Bureau B releases in the past 10 years, released as a 2-CD compilation and three single 1LPs!
About Bureau B and the KOLLEKTION series: Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music. The spectrum ranges from pop to avant-garde. The label has amassed an impressive catalogue of reissues and new productions in recent years, including classics from the genre of electronic music in the 1970s and early 1980s popularly classified as Krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created a new series entitled KOLLEKTION. Each release in this series will be curated by a musician perfectly suited to the task. The fourth instalment in our series fills us with particular pride: Richard Fearless has listened his way through our entire (!) archive and now presents his own very personal selection from the catalogue on two CDs or three LPs.
About the curator of this Kollektion: Richard Fearless is best known as the leader and founder of British band DEATH IN VEGAS. German electronic music can be heard as an influence on many of his albums - indeed even in his song titles, like 'Sons of Rother'. Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher and Hope Sandoval and has developed into a successful producer and remixer.
Richard Fearless on his modus operandi:
"I always listen out for music with a sense a space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. It’s for this reason that I’m so drawn to dub, techno and German avant-garde minimalist music. To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland', whether in the future with bands like YOU and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn’t draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust’s 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools. Artists who are still creating, still innovating. I hope you enjoy the journey." - Richard Fearless.
About Bureau B and the KOLLEKTION series: Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music. The spectrum ranges from pop to avant-garde. The label has amassed an impressive catalogue of reissues and new productions in recent years, including classics from the genre of electronic music in the 1970s and early 1980s popularly classified as Krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created a new series entitled KOLLEKTION. Each release in this series will be curated by a musician perfectly suited to the task. The fourth instalment in our series fills us with particular pride: Richard Fearless has listened his way through our entire (!) archive and now presents his own very personal selection from the catalogue on two CDs or three LPs.
About the curator of this Kollektion: Richard Fearless is best known as the leader and founder of British band DEATH IN VEGAS. German electronic music can be heard as an influence on many of his albums - indeed even in his song titles, like 'Sons of Rother'. Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher and Hope Sandoval and has developed into a successful producer and remixer.
Richard Fearless on his modus operandi:
"I always listen out for music with a sense a space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. It’s for this reason that I’m so drawn to dub, techno and German avant-garde minimalist music. To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland', whether in the future with bands like YOU and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn’t draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust’s 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools. Artists who are still creating, still innovating. I hope you enjoy the journey." - Richard Fearless.
RICHARD FEARLESS (Death In Vegas) curates KOLLEKTION 4: a compilation featuring a selection of almost 200 Bureau B releases in the past 10 years, released as a 2-CD compilation and three single 1LPs!
About Bureau B and the KOLLEKTION series: Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music. The spectrum ranges from pop to avant-garde. The label has amassed an impressive catalogue of reissues and new productions in recent years, including classics from the genre of electronic music in the 1970s and early 1980s popularly classified as Krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created a new series entitled KOLLEKTION. Each release in this series will be curated by a musician perfectly suited to the task. The fourth instalment in our series fills us with particular pride: Richard Fearless has listened his way through our entire (!) archive and now presents his own very personal selection from the catalogue on two CDs or three LPs.
About the curator of this Kollektion: Richard Fearless is best known as the leader and founder of British band DEATH IN VEGAS. German electronic music can be heard as an influence on many of his albums - indeed even in his song titles, like 'Sons of Rother'. Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher and Hope Sandoval and has developed into a successful producer and remixer.
Richard Fearless on his modus operandi:
"I always listen out for music with a sense a space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. It’s for this reason that I’m so drawn to dub, techno and German avant-garde minimalist music. To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland', whether in the future with bands like YOU and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn’t draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust’s 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools. Artists who are still creating, still innovating. I hope you enjoy the journey." - Richard Fearless.
About Bureau B and the KOLLEKTION series: Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music. The spectrum ranges from pop to avant-garde. The label has amassed an impressive catalogue of reissues and new productions in recent years, including classics from the genre of electronic music in the 1970s and early 1980s popularly classified as Krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created a new series entitled KOLLEKTION. Each release in this series will be curated by a musician perfectly suited to the task. The fourth instalment in our series fills us with particular pride: Richard Fearless has listened his way through our entire (!) archive and now presents his own very personal selection from the catalogue on two CDs or three LPs.
About the curator of this Kollektion: Richard Fearless is best known as the leader and founder of British band DEATH IN VEGAS. German electronic music can be heard as an influence on many of his albums - indeed even in his song titles, like 'Sons of Rother'. Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher and Hope Sandoval and has developed into a successful producer and remixer.
Richard Fearless on his modus operandi:
"I always listen out for music with a sense a space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. It’s for this reason that I’m so drawn to dub, techno and German avant-garde minimalist music. To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland', whether in the future with bands like YOU and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn’t draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust’s 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools. Artists who are still creating, still innovating. I hope you enjoy the journey." - Richard Fearless.
Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous ‘K&D Session’ remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly. Often compared to DJ Shadow's 'Endtroducing' for its similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin’s ‘Top 20 albums of 1999’. The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.
TRACK LISTING
A1. Roni Size - Heroes Kruder'S Long Loose Bossa
A2. Alex Reece - Jazz Master K&D Session Tm
B1. Bomb The Bass - Bug Powder Dust K&D Session Tm
B2. Lamb - Trans Fatty Acid K&D Session Tm
C1. Count Basic - Speechless Drum 'N' Bass
C2. Rocker’S Hi Fi - Going Under K&D Session Tm
D1. Depeche Mode - Useless K&D Session Tm
D2. Count Basic - Gotta Jazz Richard Dorfmeister Remix
E1. Aphrodelics - Rollin' On Chrome Wild Motherfucker Dub
E2. Knowtoryous - The Revenge Of Bomberclaad K&D Session Tm
F1. Rainer Trüby Trio - Donaueschingen Peter Kruders, Donaudampfschifffahrtsgesellschaftskapitänskajütenremix
G1. David Holmes - Gone K&D Session Tm
G2. Sofa Surfers - Sofa Rockers Richard Dorfmeister Remix
H1. Mama Oliver - Eastwest Stoned Together
H2. Bomb The Bass - Bug Powder Dust Dub
H3. Kruder & Dorfmeister - Boogie Woogie
I1. Sin - Where Shall I Turn K&D Session Tm Vol. 2
I2. Bone Thugs ‘N’ Harmony - 1St Of Tha Month K&D Session Tm
I3. Kruder & Dorfmeister - Lexicon
J1. Knowtoryous - Bomberclaad Joint K&D Session Tm
J2. Rocker’S Hi Fi - Going Under Evil Love And Insanity Dub
J3. Strange Cargo - Million Town K&D Session Tm.
XL Recordings are very happy to announce the release of ‘The Lost Tape’. Having already made history by single-handedly bringing back UK garage, the stars of BBC’s BAFTA winning comedy ‘People Just Do Nothing’, Kurupt FM, have decided to do it again with the greatest mix ever recorded - according to them. The legendary set was broadcast live in 2011 on Kurupt FM 108.9 and was recorded onto cassette tape by an anonymous listener. Once lost in a backpack in deepest Brentford, the lost tape has now been uncovered, remixed and mastered for the very first time.
‘The Lost Tape’ is a journey across an entire CD, documenting the seminal tracks which have shaped club culture from Hammersmith Boulevard to the Champagne Steam Rooms.
Featuring MCs DJ Beats and MC Grindah and mixed live by Steves, it’s over an hour of UK Garage, Grime and 100% Kurupt originals, including ‘Suttin’ Like That’.
With a feature documentary from legendary filmmaker Ewen Spencer on the way, who has previously made documentaries about The Streets and Massive Attack as well as his scene-defining piece ‘Brandy & Coke’, Ewen’s film will cement Kurupt FM even further in to UK music history.
‘The Lost Tape’ is the culmination of a big 18 months that’s seen Kurupt FM named GQ Men Of The Year, collaborate with Ed Sheeran for Comic Relief, sell out Brixton Academy, two nights at London’s Roundhouse and festival slots from Reading and Leeds to Lovebox.
‘The Lost Tape’ is a journey across an entire CD, documenting the seminal tracks which have shaped club culture from Hammersmith Boulevard to the Champagne Steam Rooms.
Featuring MCs DJ Beats and MC Grindah and mixed live by Steves, it’s over an hour of UK Garage, Grime and 100% Kurupt originals, including ‘Suttin’ Like That’.
With a feature documentary from legendary filmmaker Ewen Spencer on the way, who has previously made documentaries about The Streets and Massive Attack as well as his scene-defining piece ‘Brandy & Coke’, Ewen’s film will cement Kurupt FM even further in to UK music history.
‘The Lost Tape’ is the culmination of a big 18 months that’s seen Kurupt FM named GQ Men Of The Year, collaborate with Ed Sheeran for Comic Relief, sell out Brixton Academy, two nights at London’s Roundhouse and festival slots from Reading and Leeds to Lovebox.
The tenth volume of Numero’s elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.
TRACK LISTING
SIDE A
1. Cheryl Glasgow - Glued To The Spot
2. Dianne Mower - The Secret Sign
3. Phoebe Cates - Feels So Good (Feels So Right)
4. Isabelle Antena - Naughty Naughty
5. Nika Rejto - More Than Just A Dream
6. Crow Johnson - You Got Me
SIDE B
7. Terry Garthwaite - Me To You
8. Suse Millemann - Patterns
9. Vazz - Breath
10. Elisa Waut - Being Strong
11. Antoinette & Jeff Phelps - Hear My Heart
12. DeMonica Flye - Someday You’ll See
One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla's 'Plaza de los Musicos'. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man's bizarre odyssey into Colombia's coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface. The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.
It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca's imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla. When Machuca couldn't find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his long time recording engineer, Eduardo Dávila, to describes Machuca's productions as the "B-Movies of Colombian music."
The story of Doctor Machuca and his eccentric exploits tells of one of Colombia's most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.
It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca's imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla. When Machuca couldn't find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his long time recording engineer, Eduardo Dávila, to describes Machuca's productions as the "B-Movies of Colombian music."
The story of Doctor Machuca and his eccentric exploits tells of one of Colombia's most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.
TRACK LISTING
1. Samba Negra - "Eberebijara"
2. King Somalie - "Monkey´s Dance"
3. El Grupo Folclórico - "Tamba"
4. Los Viajeros Siderales - "El Campanero"
5. Rio Latino - "Ayu"
6. Aníbal Velásquez - "La Mazamorra Del Diablo"
7. La Francachela - "Mosquita Muerta"
8. El Grupo Folclórico - "Juipiti"
9. King Somalie - "Le Mongui"
10. El Grupo Folclórico - "El Tornillito"
11. Samba Negra - "Long Life Africa"
12. La Banda Africana - "Te Clavo La...Mano"
13. Myrian Makenwa - "El Platano"
14. El Grupo Folclórico - "Tucutru"
15. Grupo Bola Roja - "Caracol"
16. El Grupo D'Abelard - "A Otro Perro Con Ese Hueso"
17. Conjunto Barbacoa - "Wabali"
Features 16 of the most exciting artists around who have donated songs to help raise money to make Ladyfest Manchester 2008 a reality. So, for only a fiver you get an amazing compilation featuring the likes of Bearsuit, Das Wanderlust, Shrag, The Bobby McGee's, The Lovely Eggs, Town Bike, Hotpants Romance, Vile Vile Creatures, Penny Broadhurst, Kids Love Lies and many more, and you're also helping to make this event happen!
Franz Ferdinand are welcomed into the Late Night Tales family with a diverse 20 track selection of musical influences, inspirations, diversions and discoveries.
Opening with Franz Ferdinand’s own exclusive cover of Jonathan Halper's ‘Leaving My Old Life Behind’, (which appeared on the cult Kenneth Anger movie Puce Moment), their Late Night Tales mix flows between dark and light, introspection and affection, dancing and horizontal appreciation.
Hear them join the dots between Can, Serge Gainsbourg and The West Coast Pop Art Experimental Band, Sandy's Nelson's percussion work-out 'Let There Be Drums', the irrepressible Ian Dury, electro-funk sensations Zapp and the Disco Dub Band and sonic explorer Lee ‘Scratch’ Perry. Record collectors will note the inclusion of Carrie Cleveland's Northern Soul anthem 'Love Will Set You Free'. Also included are a set of waywardly brilliant cover versions: Justus Köhncke’s dizzy interpretation of Neil Young’s ‘Old Man’ and R. Stevie Moore's ‘I’m Only Sleeping'.
It wouldn’t be right for Franz Ferdinand to produce a mix such as this without a nod to the country that brought them together, so Glasgow’s Life Without Buildings, whose uplifting ‘New Town’ appears alongside ‘Reach For The Dead’ by Boards Of Canada.
As they leave us wondering and wandering with American Spring’s Brian Wilson-produced ‘Sweet Mountain’, we take leave of our senses and suitcases on this tour bus of your mind. We’ve visited soul, funk, reggae, pop, Krautrock and others besides, but before we depart, Franz frontman Alex Kapranos provides a final farewell with the self penned story 'Defibrillator'.
"When we first got the band together I made Alex a tape for his car, an old Merc estate that we spent a lot of time in, going to and from rehearsal spaces and gigs. All of our gear and the four of us could (almost) comfortably fit inside. It was all stuff I was listening to at the time, Dr Alimantado, Judas Priest, Led Zeppelin, Plaid, Johnny Dangerous amongst others. An ecletic mix or completely random and disjointed depending on your outlook, it was representative of all our individual idiosyncrasies that merged to form the sound of the band, although I wasn't aware of this at the time. With this mix we tried to a similar thing, all of us selected the tunes, based on what we listen to on tour together and at home alone, any sustained moods or flows that occur are purely accidental. Oh yeah, the Merc estate got totalled and towed away with the tape still in the player." - Paul Thomson Franz Ferdinand July 2014
Opening with Franz Ferdinand’s own exclusive cover of Jonathan Halper's ‘Leaving My Old Life Behind’, (which appeared on the cult Kenneth Anger movie Puce Moment), their Late Night Tales mix flows between dark and light, introspection and affection, dancing and horizontal appreciation.
Hear them join the dots between Can, Serge Gainsbourg and The West Coast Pop Art Experimental Band, Sandy's Nelson's percussion work-out 'Let There Be Drums', the irrepressible Ian Dury, electro-funk sensations Zapp and the Disco Dub Band and sonic explorer Lee ‘Scratch’ Perry. Record collectors will note the inclusion of Carrie Cleveland's Northern Soul anthem 'Love Will Set You Free'. Also included are a set of waywardly brilliant cover versions: Justus Köhncke’s dizzy interpretation of Neil Young’s ‘Old Man’ and R. Stevie Moore's ‘I’m Only Sleeping'.
It wouldn’t be right for Franz Ferdinand to produce a mix such as this without a nod to the country that brought them together, so Glasgow’s Life Without Buildings, whose uplifting ‘New Town’ appears alongside ‘Reach For The Dead’ by Boards Of Canada.
As they leave us wondering and wandering with American Spring’s Brian Wilson-produced ‘Sweet Mountain’, we take leave of our senses and suitcases on this tour bus of your mind. We’ve visited soul, funk, reggae, pop, Krautrock and others besides, but before we depart, Franz frontman Alex Kapranos provides a final farewell with the self penned story 'Defibrillator'.
"When we first got the band together I made Alex a tape for his car, an old Merc estate that we spent a lot of time in, going to and from rehearsal spaces and gigs. All of our gear and the four of us could (almost) comfortably fit inside. It was all stuff I was listening to at the time, Dr Alimantado, Judas Priest, Led Zeppelin, Plaid, Johnny Dangerous amongst others. An ecletic mix or completely random and disjointed depending on your outlook, it was representative of all our individual idiosyncrasies that merged to form the sound of the band, although I wasn't aware of this at the time. With this mix we tried to a similar thing, all of us selected the tunes, based on what we listen to on tour together and at home alone, any sustained moods or flows that occur are purely accidental. Oh yeah, the Merc estate got totalled and towed away with the tape still in the player." - Paul Thomson Franz Ferdinand July 2014
TRACK LISTING
CD Tracklisting:
1. Franz Ferdinand - Leaving My Old Life Behind (Exclusive Cover Version)
2. R. Stevie Moore - I'm Only Sleeping
3. The West Coast Pop Art Experimental Band - Eighteen Is Over The Hill
4. Sandy Nelson - Let There Be Drums
5. Life Without Buildings - New Town
6. Can - Connection
7. The Liminanas - The Darkside
8. Ian Dury - Reasons To Be Cheerful Part 3
9. Disco Dub Band - For The Love Of Money
10. Zapp - More Bounce To The Ounce
11. Serge Gainsbourg - Requiem Pour Un Con
12. Lee "Scratch" Perry - Disco Devil
13. James Brown - King Heroin
14. Carrie Cleveland - Love Will Set You Free
15. Paul McCartney & Wings - Nineteen Hundred & Eighty Five
16. Boards Of Canada - Reach For The Dead
17. Oneohtrix Point Never - Zebra
18. Justus Köhncke - Old Man
19. American Spring - Sweet Mountain
20. Alex Kapranos – Defibrillator (Exclusive Spoken Word Piece)
LP Tracklisting:
A Side
1. Franz Ferdinand - Leaving My Old Life Behind
2. R. Stevie Moore - I'm Only Sleeping
3. The West Coast Pop Art Experimental Band - Eighteen Is Over The Hill
4. Sandy Nelson - Let There Be Drums
5. Life Without Buildings - New Town
6. Can - Connection
B Side
7. The Liminanas - The Darkside
8. Ian Dury - Reasons To Be Cheerful Part 3
9. Disco Dub Band - For The Love Of Money
10. Zapp - More Bounce To The Ounce
11. Serge Gainsbourg - Requiem Pour Un Con
C Side
12. Lee "Scratch" Perry - Disco Devil
13. James Brown - King Heroin
14. Paul McCartney & Wings - Nineteen Hundred & Eighty Five
15. American Spring - Sweet Mountain
D Side
16. Boards Of Canada - Reach For The Dead
17. Oneohtrix Point Never - Zebra
18. Justus Köhncke - Old Man
19. Alex Kapranos - Defibrillator
Composer, musician and producer Nils Frahm steers the new edition of 'Late Night Tales'. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's 'Late Night Tales' haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold’s ‘You’re The Only Star’, a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers’ ‘Honey Bunch’, that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).
"I’ve really got off on working on compilations lately. It’s such a wonderful way to delve deep into your music collection. My flat is now crammed with music media of all stripes, from an old hand-cranked 78 phonograph player to 45s and albums on vinyl, my beloved old cassette tape collection, even mini-disks and, lately, WAV and MP3s. It’s all music to me. After spending hours recording from all of these diverse sources, I started to play around with the tunes, layering them, sampling, looping certain parts, extracting phrases and using all the freedom that this allowed me. If I got a little carried away or stepped on anyone’s toes in my quest to do something interesting and original, then I apologise. Some things may have accidentally landed on the wrong speed, while other spooky happening have occurred along the way, whether it’s ghostly additions of reverb and delay or simply subtle edits or reproductions, they’ve all gone into the magical stew I’ve tried to create for your pleasure and edification. I can’t tell you how much fun I’ve had creating this compilation for you but, suffice to say, I hope it will be a nice journey for your mind and heart."
- Nils Frahm, May 2015
"I’ve really got off on working on compilations lately. It’s such a wonderful way to delve deep into your music collection. My flat is now crammed with music media of all stripes, from an old hand-cranked 78 phonograph player to 45s and albums on vinyl, my beloved old cassette tape collection, even mini-disks and, lately, WAV and MP3s. It’s all music to me. After spending hours recording from all of these diverse sources, I started to play around with the tunes, layering them, sampling, looping certain parts, extracting phrases and using all the freedom that this allowed me. If I got a little carried away or stepped on anyone’s toes in my quest to do something interesting and original, then I apologise. Some things may have accidentally landed on the wrong speed, while other spooky happening have occurred along the way, whether it’s ghostly additions of reverb and delay or simply subtle edits or reproductions, they’ve all gone into the magical stew I’ve tried to create for your pleasure and edification. I can’t tell you how much fun I’ve had creating this compilation for you but, suffice to say, I hope it will be a nice journey for your mind and heart."
- Nils Frahm, May 2015
TRACK LISTING
01. Nils Frahm - 4'33" (Exclusive John Cage Cover Version)
02. Baka Forest People Of South East Cameroon - Liquindi 2
03. Carl Oesterhelt & Johannes Enders - Divertimento Fur Tenorsaxophon Und Kleines Ensemble Pt.4
04. Four Tet - 0181 (Excerpt)
05. George Autry - You're The Only Star In My Blue Heaven
06. Boards Of Canada - In A Beautiful Place Out In The Country
07. Bibio - It Was Willow
08. Dictaphone - Peaks
09. Vladimir Horowitz - The Flight Of The Bumblebee
10. Miles Davis - Concierto De Aranjuez (Adagio)
11. Victor Silvester & His Ballroom Orchestra - Talk Of The Town
12. System - SK20
13. Rhythm & Sound - Mango Drive
14. Miles Davis - Générique
15. Dinu Lipatti - O Herr Bleibet Meine Freunde, BWV 147
16. Colin Stetson - The Righteous Wrath Of An Honorable Man
17. Penguin Café Orchestra - Cutting Branches For A Temporary Shelter
18. Nina Simone - Who Knows Where The Time Goes
19. Nina Jurish - Cleo The Cat (Exclusive Track)
20. Dub Tractor - Cirkel
21. The Gentlemen Losers - Honey Bunch
22. Nils Frahm - Them "Solo Piano Edit“ (Exclusive Version)
23. Cillian Murphy - In The Morning (Exclusive Spoken Word Piece)
Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.
After releasing the breakthrough album ‘And They Have Escaped The Weight Of Darkness’, in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds’ music has a quietude that seems perfectly apposite and that’s evident here as each song drifts like an autumn wind towards the next.
Arnalds has enlisted the help of a few of his countrymen for the journey out west – electronic bands Samaris and Hjaltalín – and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless’ brilliant post-dubstep ‘Last Remnants’ alongside the enigmatic brilliance of Jai Paul. It’s a perfect musical landscape that is eerie yet beautiful, as on Odesza’s ‘How Did I Get Here’.
As if Ólafur wasn’t spoiling us enough, he offers up three exclusives: his own ‘Kinesthesia I’ and ‘RGB’ and ‘Orgoned’ by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny’s Child’s ‘Say My Name’) and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.
“When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.”
After releasing the breakthrough album ‘And They Have Escaped The Weight Of Darkness’, in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds’ music has a quietude that seems perfectly apposite and that’s evident here as each song drifts like an autumn wind towards the next.
Arnalds has enlisted the help of a few of his countrymen for the journey out west – electronic bands Samaris and Hjaltalín – and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless’ brilliant post-dubstep ‘Last Remnants’ alongside the enigmatic brilliance of Jai Paul. It’s a perfect musical landscape that is eerie yet beautiful, as on Odesza’s ‘How Did I Get Here’.
As if Ólafur wasn’t spoiling us enough, he offers up three exclusives: his own ‘Kinesthesia I’ and ‘RGB’ and ‘Orgoned’ by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny’s Child’s ‘Say My Name’) and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.
“When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.”
STAFF COMMENTS
Barry says: From sublime ethereal ambience to stuttered beats and booming sub-bass, the latest incarnation of the hugely popular (and ridiculously competent) Late Night Tales series sees Modern-classical/Electronica prodigy Olafur Arnalds choosing a few of his biggest influences and current kicks, interspersed with a selection of his own unreleased (and frankly stunning) works. Dynamic, relaxing and brilliantly coherent collection of the most interesting and varied ambient electronic tracks around today. Top stuff.TRACK LISTING
CD Tracklisting:
01. Hjálmar Lárusson And Jónbjörn Gíslason - Jómsvíkingarímur - Ýta Eigi Feldi Rór
02. Julianna Barwick - Forever
03. Koreless - Last Remnants
04. Odesza - How Did I Get Here (Instrumental) (Late Night Tales Exclusive)
05. Anois - A Noise
06. Samaris - Góða Tungl
07. Ólafur Arnalds - RGB (Late Night Tales Exclusive)
08. Rival Consoles - Pre
09. Four Tet - Lion (Jamie Xx Remix)
10. Jai Paul - Jasmine
11. James Blake - Our Love Comes Back
12. Spooky Black - Pull
13. Ólafur Arnalds Ft. Arnór Dan - Say My Name (Exclusive Cover Version)
14. Sarah Neufeld & Colin Stetson - And Still They Move
15. Kiasmos - Orgoned (Late Night Tales Exclusive)
16. Ólafur Arnalds - Kinesthesia I (Late Night Tales Exclusive)
17. Hjaltalín - Etheral
18. David Tennant - Undone (Exclusive Spoken Word)
LP
A Side:
1. Hjálmar Lárusson And Jónbjörn Gíslason - Jómsvíkingarímur - ýta Feldi Eigi Rór
2. Julianna Barwick - Forever
3. Koreless - Last Remnants 4:20
4. Odesza - How Did I Get Here (Instrumental)
5. Anois - A Noise.
B Side:
1. Samaris - Góða Tungl
2. Ólafur Arnalds - RGB
3. Rival Consoles - Pre
4. Jai Paul - Jasmine (Demo).
C Side:
1. Four Tet - Lion (Jamie Xx Remix)
2. James Blake - Our Love Comes Back
3. Spooky Black - Pull
4. Sarah Neufeld & Colin Stetson - And Still They Move.
D Side:
1. Ólafur Arnalds Ft. Arnór Dan - Say My Name
2. Kiasmos - Orgoned
3. Ólafur Arnalds - Kinesthesia I
4. Hjaltalín - Etheral
5. David Tennant - Undone.
Various Artists
Late Night Tales Presents - Groove Armada - Another Late Night - 2023 Reissue
Late Night Tales
Twenty-one years after its initial release in 2002, Groove Armada’s seminal Another Late Night compilation gets a heavyweight vinyl reissue courtesy of longtime label collaborators Late Night Tales. Boasting eighteen tracks lovingly selected by the esoteric cratediggers (including the duo’s uber-rare cover of ‘Fly Me To The Moon’), the 70-minute collection - hailed as a 'groovy concoction of cabaret music, cocktail house, old school funk and a bit of hip hop' by Resident Advisor - takes us on a journey through downtempo bliss via the occasional dancefloor filler and more than one opportunity for the listener to start shakin’ their ass. In this Another Late Night compilation, Groove Armada have achieved the tricky task of delivering a mix that gives a flavour of the dancefloor while simultaneously offering something that can be consumed lying gingerly on a chaise-longue while being wafted with palm fronds by scantily clad belly dancers. See you on the veranda.
TRACK LISTING
LP1
1. Groove Armada - Fly Me To The Moon (Exclusive Cover Version)
2. BRS - Lovin’ Me (Dubtribe Mix)
3. Good Together - (We Can) Work It Out
4. Tim ‘Love’ Lee - Java Jam
5. Open Door - Breathe
6. Kleeer - Tonight
7. Roy Ayers - The Memory
LP2
1. Metro Area Miura
2. Kimbu Kimra - Raise The Dead (Love From San Francisco Dub)
3. Don Ray - Standing In The Rain
4. Al Green - Truth N' Time
5. Shuggie Otis - Strawberry Letter 23
6. Mr Fingers - Can You Feel It
7. Aretha Franklin - Day Dreaming
8. Loose Ends - Feel The Vibe
9. Sir Patrick Moore - Peepshow Part 1
The Italians call it "notturna", the French "nocturne", in Spanish it’s "nocturno". A nocturne is a term to describe a musical composition that is inspired by or evocative of the night, which seems apposite. The most famous modern nocturne is, of course, ‘Harlem Nocturne’, as recorded by countless jazz musicians. If you like, you can just call it the night. The point is it’s when the fairies come out to play and the bass is at its loudest (the two are not necessarily related).
Late Night Tales are back in the low-tempo, high-octane zone. The tempo might be slow, but the quality control makes Louis Vuitton look like Poundland. The label have gathered together some of the hottest new material, with some judiciously chosen old gear, an edit or two and blended them together like a disco nutri-bullet.
Among the exclusives is the amazing Lindstrøm remix of Charli XCX’s ‘You (Ha Ha Ha)’, alongside a pair of exclusives from The Emperor Machine and Hugh Mane and two belters from Hotel Motel. And there are the rarities. We’ve got Rudy Norman with the brilliant ‘Back To The Streets’; there’s also the amazing ‘Chained To The Train Of Love’ by Coalkitchen and a traditional ‘LNT’ curveball, this time furnished by Plastic Bertrand delivering one of the best ever early rap tunes.
Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess - and as go-to scribe of liner notes for every Late Night Tales release since day one, his association with the series is symbiotic. Originally a chef, a football pundit (co-editor of fanzine When Saturday Comes) and record collector, Bill began DJing in in the late 80s, but he cut his teeth playing Low Life warehouse parties in Harlem and the East Village and anyone hearing Bill today can see how these New York ‘roots’ shine through. For eclecticism, surprises, amazing unique music and sheer long-haul dedication to the dancefloor; Bill’s your man.
Late Night Tales are back in the low-tempo, high-octane zone. The tempo might be slow, but the quality control makes Louis Vuitton look like Poundland. The label have gathered together some of the hottest new material, with some judiciously chosen old gear, an edit or two and blended them together like a disco nutri-bullet.
Among the exclusives is the amazing Lindstrøm remix of Charli XCX’s ‘You (Ha Ha Ha)’, alongside a pair of exclusives from The Emperor Machine and Hugh Mane and two belters from Hotel Motel. And there are the rarities. We’ve got Rudy Norman with the brilliant ‘Back To The Streets’; there’s also the amazing ‘Chained To The Train Of Love’ by Coalkitchen and a traditional ‘LNT’ curveball, this time furnished by Plastic Bertrand delivering one of the best ever early rap tunes.
Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess - and as go-to scribe of liner notes for every Late Night Tales release since day one, his association with the series is symbiotic. Originally a chef, a football pundit (co-editor of fanzine When Saturday Comes) and record collector, Bill began DJing in in the late 80s, but he cut his teeth playing Low Life warehouse parties in Harlem and the East Village and anyone hearing Bill today can see how these New York ‘roots’ shine through. For eclecticism, surprises, amazing unique music and sheer long-haul dedication to the dancefloor; Bill’s your man.
STAFF COMMENTS
Philippa says: Bill Brewster is back with another essential offering in the 'Late Night Tales Presents After Dark' series. As ever we get a DJ-mixed CD and un-mixed double vinyl LP. Quality all the way through.TRACK LISTING
CD Mix (includes Unmixed Tracks Via Download As Mp3/wav)
1. Scream And Dance - In Rhythm
2. Plastic Bertrand - Stop Ou Encore (Disconet Remix)
3. Paladin - Third World
4. Adriano Celentano - L’Unica Chance
5. Hotel Motel - Chocolate City (EXCLUSIVE TRACK)
6. Hotel Motel Featuring Snax - The Fall (EXCLUSIVE TRACK)
7. Harry Wolfman - Celebre
8. Coalkitchen - Chained To The Train Of Love
9. Matt Dirt - In Deep
10. Hugh Mane - Organic Ceramic (EXCLUSIVE TRACK)
11. Charli XCX - You (Ha Ha Ha) (Lindstrom Remix) (EXCLUSIVE TRACK)
12. Rodion - Solenoid
13. Tornado Wallace - Insect Overlords
14. The Emperor Machine - Breezin
15. Pink And Black - Miss Fortune
16. Trulz & Robin - Acid Cake
17. Spaghetti Head - Funky Voodoo (Mang Dynasty Edit) (EXCLUSIVE TRACK)
18. Alex Metric & Oliver - Galaxy
19. Rudy Norman - Back To The Streets
Unmixed Double Virgin Vinyl (Includes Download Code To Bill Brewster’s Mix And Full Unmixed Tracks As Wav/mp3)
A Side:
1. Scream & Dance - In Rhythm (7:07)
2. Plastic Bertrand - Stop Ou Encore (Disconet Remix) (7:51)
3. Paladin - Third World (3:56)
B Side:
1. Adriano Celentano - L'Unica Chance (4:49)
2. Hotel Motel - Chocolate City (6:46)
3. Hotel Motel Ft. Snax - Fall (7:00)
C Side:
7. Coalkitchen - Chained To The Train Of Love (4:09)
8. Hugh Mane - Organic Ceramic (6:23)
9. Charli XCX - You Mu Ha Ha Ho (Lindstrom Remix) (7:22)
D Side:
10. Emperor Machine - Breezin' (5:49)
11. Spaghetti Head - Funky Voodoo (Mang Dynasty Edit) (5:52)
12. Rudy Norman - Back To The Streets (5:07)
Music is a powerful trigger of myriad emotions, from the romantic, powerful, disastrous and even heartbreaking. Never is this more plainly evident than with the movie soundtrack. Listen to Lalo Schifrin’s string and brass arrangements on ‘Bullitt’ and we are back in the car with Steve McQueen in an epic chase over the elliptical contours of San Francisco.Flip to Wendy Carlos’ ‘Ode To Joy’ as Alex exclaims: “It was gorgeousness and gorgeosity made flesh,” the violence simmering somewhere close to the surface in Kubrick’s A Clockwork Orange.
We’ve collected together some of the classic themes and motifs spanning the past 60 years, from Bernard Hermann’s daring fusion of orthodox orchestration and theremin, Gary Jules’ haunting version of Tears For Fears’ ‘Mad World’, as featured in the hypnotic Donnie Darko, or John Barry’s harmonica-led theme to Schlesinger’s Midnight Cowboy. In the process, we’ve selected a vast range of styles from the jazz and soul-influenced compositions of Roy Budd, Isaac Hayes and Brazil’s Deodato, to electronic pioneers like Giorgio Moroder or leftfield composers like Philip Glass.
So pour yourself that glass of something smooth, relax on the sofa, close your eyes and make believe you’re in a creaking hotel with Jack Nicholson or deep in the fearful sweat of Vietnam with Robert De Niro or a Turkish prison with Brad Davis….
All human life is here.
We’ve collected together some of the classic themes and motifs spanning the past 60 years, from Bernard Hermann’s daring fusion of orthodox orchestration and theremin, Gary Jules’ haunting version of Tears For Fears’ ‘Mad World’, as featured in the hypnotic Donnie Darko, or John Barry’s harmonica-led theme to Schlesinger’s Midnight Cowboy. In the process, we’ve selected a vast range of styles from the jazz and soul-influenced compositions of Roy Budd, Isaac Hayes and Brazil’s Deodato, to electronic pioneers like Giorgio Moroder or leftfield composers like Philip Glass.
So pour yourself that glass of something smooth, relax on the sofa, close your eyes and make believe you’re in a creaking hotel with Jack Nicholson or deep in the fearful sweat of Vietnam with Robert De Niro or a Turkish prison with Brad Davis….
All human life is here.
TRACK LISTING
A1. Columbia Symphony Orchestra / Bernstein - Rhapsody In Blue (Excerpt) (Manhattan)
A2. Rr Orchestra - Sarabande (Barry Lyndon)
A3. John Barry - Midnight Cowboy (Midnight Cowboy)
A4. Pascal Rogé - Gnossiennes #3 (Henry & June)
A5. Michael Andrews Ft Gary Jules - Mad World (Donnie Darko)
A6. Arthur Fiedler / Boston Pops Orchestra - March Of The Siamese Children (The King & I)
A7. Nick Ingman / Orchestra London Sinfonietta - Adagio For Strings (Platoon)
B1. John Williams - Cavatina (The Deer Hunter)
B2. Philip Glass - Powaqqatsi (Powaqqatsi)
B3. Michael Kamen - The Office (Brazil)
B4. Bernard Herrmann - Outer Space (The Day The Earth Stood Still)
B5. Ray Noble & His Orchestra - Midnight, The Stars And You (The Shining)
B6. Thomas Newman - Horse (Jarhead)
B7. Wendy Carlos / Mark Ayres - Ode To Joy (A Clockwork Orange)
C1. Deodato - Also Sprach Zarathustra (Being There)
C2. Thomas Newman / Hollywood Studio Symphony - Brooks Was Here (The Shawshank Redemption)
C3. Mike Oldfield - Tubular Bells (Excerpt) (The Exorcist)
C4. Hotei - Battle Without Honor Or Humanity (Kill Bill: Vol 1)
C5. John Carpenter / Mark Ayres - Halloween Main Theme (Halloween)
C6. Bernard Herrmann - Main Title (Taxi Driver)
D1. Giorgio Moroder - Chase (Midnight Express)
D2. Isaac Hayes - Theme From "Shaft" (Shaft)
D3. Lalo Schifrin - Bullitt Main Title (Bullitt)
D4. Vangelis - Tears In Rain (Blade Runner)
Cultural polymath - pop star, filmmaker, radio broadcaster, commentator, Grammy winner. Oh and DJ, too. Take your pick from the many coats worn by our selector, Don Letts aka The Rebel Dread.
Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.
In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.
The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.
“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”
There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.
The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.
“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”
Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.
In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.
The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.
“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”
There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.
The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.
“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”
STAFF COMMENTS
Barry says: Don Letts, widely credited for turning the punk world on to reggae collects some of his favourite pieces, from dubby cuts to electronic and groovers, some unheard gems and a few exclusive tracks for the legendary Late Night Tales. In a pretty crowded field of 'great LNT comps', this is truly one of the greatest.TRACK LISTING
A1. Ghetto Priest - Hercules (North Street West 'Late Night Tales' Dub) *Exclusive Remix
A2. Prince Fatty & Shniece McMenamin - Black Rabbit
A3. Wrongtom Meets The Rockers - Dub In The Supermarket *Exclusive Remix
A4. Gaudi Meets The Rebel Dread Ft. Emily Capell - E = MC2 *Exclusive Track
A5. Rude Boy - Superstylin' *Exclusive Remix
B6. Capitol 1212 Ft. Earl 16 - Love Will Tear Us Apart (Full Vocal Dub) *Exclusive Remix
B7. Quantic Presenta Flowering Inferno - All I Do Is Think About You (Far East Dub) *Exclusive Remix
B8. Zoe Devlin Love Ft. Tim Hutton - Caroline No
B9. John Holt - You'll Never Find Another Love Like Mine (Mad Professor 2021 Dub) *Exclusive Remix
B10. Cornell Campbell - Ital City Dub *Exclusive Remix
B11. Matumbi - (I Can't Get Enough Of) That Reggae Stuff (Dennis Bovell Remix) *Exclusive Remix
C12. Gentleman's Dub Club Ft. Kiko Bun - Use Me (Ben McKone Dub)
C13. Black Box Recorder - Uptown Top Ranking
C14. OBF - Sixteen Tons Of Dub
C15. Yasushi Ide - Ain't No Sunshine (Space Dub Mix) *Exclusive Remix
D16. The Tamlins - Baltimore
D17. 15 16 17 - Emotion (Dennis Bovell Remix) *Exclusive Remix
D18. Ash Walker - There's Nothing Like This *Exclusive Track
D19. The Senior Allstars - Slipping Into Darkness
D20. Easy Star All-Stars - Within You Without You
D21. Khruangbin - Dern Kala (Khruangbin Dub Mix) *Exclusive Remix
“To me, sounds have always been more interesting than words,” says Agnes Obel. “I love it when the voice becomes an instrument and you almost forget it’s a human voice.” Never is this more apt than on this beautifully programmed and bewitching selection of music.
Agnes’ 2010 debut album Philharmonics went platinum in France and Belgium and, unsurprisingly, quintuple platinum in her native Denmark, where she also won five Danish Music Awards (equivalent to the Brits) in 2011. The follow-up Aventine, released in late 2013, was imbued with the same measured calmness as her debut. It went platinum in Belgium and gold in Denmark and France.
For the mix you have in your hands it feels almost as if Agnes has scoured the world looking for kindred spirits – or kindred songs. There’s a quietude about it all, the antithesis of a rush hour, like a frozen lake on a Sunday morning. This is aided by a veritable cornucopia of new Obel material, including a haunting reading of Danish song ‘Glemmer Du’, Inger Christensen’s ‘Poem About Death’ set to original music, and an Agnes original, ‘Bee Dance’.
Among them, there’s the enigmatic Jamaican singer Nora Dean who weighs in with the hypnotic and slinky Duke Reid production, ‘Ay Ay Ay Ay (Angie-Lala)’ and the sparse, sardonic ‘Party Girl’ by Michelle Gurevich, so good it inspired the eponymous French movie. There are the plangent voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies and Agnes herself, ringing true. Somehow, Ms Obel makes even makes the electronic tracks bow to her needs as with Yello whose ‘Great Mission’ is more Martin Denny than Underworld and cult Greek composer Lena Platonos’ ‘Bloody Shadows From A Distance’ pulses gently rather than throbs and Can’s recently rediscovered ‘Obscura Primavera’, unusually hushed.
"I was surprised at how much time I ended up spending on this. I collected all the songs together with my partner Alex and we just spent time listening to records, trying to see what would fit together. Some of the music I’ve included here is on mixtapes we made when we were just friends as teenagers. Each one of the tracks produces stories in my head." - Agnes Obel, February 2018
Agnes’ 2010 debut album Philharmonics went platinum in France and Belgium and, unsurprisingly, quintuple platinum in her native Denmark, where she also won five Danish Music Awards (equivalent to the Brits) in 2011. The follow-up Aventine, released in late 2013, was imbued with the same measured calmness as her debut. It went platinum in Belgium and gold in Denmark and France.
For the mix you have in your hands it feels almost as if Agnes has scoured the world looking for kindred spirits – or kindred songs. There’s a quietude about it all, the antithesis of a rush hour, like a frozen lake on a Sunday morning. This is aided by a veritable cornucopia of new Obel material, including a haunting reading of Danish song ‘Glemmer Du’, Inger Christensen’s ‘Poem About Death’ set to original music, and an Agnes original, ‘Bee Dance’.
Among them, there’s the enigmatic Jamaican singer Nora Dean who weighs in with the hypnotic and slinky Duke Reid production, ‘Ay Ay Ay Ay (Angie-Lala)’ and the sparse, sardonic ‘Party Girl’ by Michelle Gurevich, so good it inspired the eponymous French movie. There are the plangent voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies and Agnes herself, ringing true. Somehow, Ms Obel makes even makes the electronic tracks bow to her needs as with Yello whose ‘Great Mission’ is more Martin Denny than Underworld and cult Greek composer Lena Platonos’ ‘Bloody Shadows From A Distance’ pulses gently rather than throbs and Can’s recently rediscovered ‘Obscura Primavera’, unusually hushed.
"I was surprised at how much time I ended up spending on this. I collected all the songs together with my partner Alex and we just spent time listening to records, trying to see what would fit together. Some of the music I’ve included here is on mixtapes we made when we were just friends as teenagers. Each one of the tracks produces stories in my head." - Agnes Obel, February 2018
TRACK LISTING
1. Henry Mancini - The Evil Theme
2. Roger Webb - Moonbird
3. Eden Ahbez - Eden's Island
4. Lee Hazelwood - The Nights
5. Nora Dean - Ay Ay Ay Ay (Angle-Lala)
6. Yello - Great Mission
7. Quarteto Em Cy With Tamba Trio - Aleluia
8. Lena Platonos - Bloody Shadows From A Distance
9. Ray Davies - I Go To Sleep
10. Alfred Schnittke - Piano Quintet, V
11. Agnes Obel - Stretch Your Eyes (Ambient Acapella)
12. The Bulgarian State Radio & Television Female Choir – Pilentze Pee (Pilentze Sings)
13. Agnes Obel - Glemmer Du (Exclusive Track)
14. Agnes Obel - Bee Dance (Exclusive Track)
15. Sibylle Baier - The End
16. Michelle Gurevich - Party Girl
17. CAN - Oscura Primavera
18. David Lang - I Lie
19. Nina Simone - Images (Live In New York 1964)
20. Agnes Obel - Poem About Death (Exclusive Track)
Canadian quartet BADBADNOTGOOD take on creating the ultimate “late night” selection of tracks from their record collections. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto’s Humber College (they’ve recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015’s Sour Soul.
This is an international effort: Velly Joonas’ Estonian version of ‘Feel Like Makin’ Love’, Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots’ Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there’s the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf’s ‘To You’ is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
“We were really excited to have the chance to put together a Late Night Tales compilation, it’s a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.
These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.” - BADBADNOTGOOD May 2017
This is an international effort: Velly Joonas’ Estonian version of ‘Feel Like Makin’ Love’, Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots’ Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there’s the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf’s ‘To You’ is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
“We were really excited to have the chance to put together a Late Night Tales compilation, it’s a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.
These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.” - BADBADNOTGOOD May 2017
STAFF COMMENTS
Patrick says: Given their ardent love of the hippidy hop, I was half expecting a baked set of golden age head nodders here, but instead the peerless modern jazz ensemble offer up a gorgeous stroll through cinematic soul, soft focus pop and gems mined from all over the globe on this excellent addition to the Late Night Tales catalogue. Watch out for the Steve Kuhn cut - that shizzle could bring a tear to a glass eye!TRACK LISTING
CD - Mixed
1. Boards Of Canada - Olson
2. Erasmo Carlos - Vida Antiga
3. Gene Williams - Don't Let Your Love Fade Away
4. The Chosen Few - People Make The World Go Round
5. Esther Phillips - Home Is Where The Hatred Is
6. Delegation - Oh Honey
7. Velly Joonas - Kaes On Aeg
8. Stereolab - The Flower Called Nowhere
9. Kiki Gyan - Disco Dancer
10. Admas Anchi - Bale Game
11. Francis Bebey - Sanza Nocturne
12. Thundercat - For Love I Come
13. River Tiber Ft Daniel Caesar - West
14. Charlotte Day Wilson - Work
15. The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
16. Donnie & Joe Emerson - Baby
17. Les Prospection - Lido
18. Grady Tate - And I Love Her
19. BADBADNOTGOOD - To You (Exclusive Andy Shauf Cover Version)
20. Steve Kuhn - The Meaning Of Love
21. Lydia Lunch - You, Me And Jim Beam (Exclusive Spoken Word Piece)
LP
A Side:
A1 Boards Of Canada - Olson
A2 Erasmo Carlos - Vida Antiga
A3 Gene Williams - Don’t Let Your Love Fade Away
A4 The Chosen Few – People Make The World Go Round
A5 Esther Phillips - Home Is Where The Hatred Is
A6 Delegation – Oh Honey
B Side
B1 Velly Joonas - Käes On Aeg
B2 Stereolab – The Flower Called Nowhere
B3 Kiki Gyan – Disco Dancer
B4 Admas – Anchi Bale Game
C Side:
C1 Francis Bebey – Sanza Nocturne
C2 Thundercat - For Love I Come
C3 River Tiber Ft. Daniel Caesar – West
C4 Charlotte Day Wilson – Work
C5 The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
C6 Donnie & Joe Emerson – Baby
D Side:
D1 Les Prospections – Lido
D2 Grady Tate – And I Love Her
D3 Badbadnotgood – To You
(Exclusive Andy Shauf Cover Version)
D4 Steve Kuhn – The Meaning Of Love
D5 Lydia Lunch - You, Me And Jim Beam (Exclusive Spoken Word Piece)
Floating Points’ personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.
Sam Shepherd aka Floating Points’ music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and – yes – feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the ‘Shadows EP’ and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album ‘Elaenia’, which met with critical acclaim upon its release in 2015.
This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There’s the gorgeous ‘Via Làctea’, culled from Carlos Walker’s debut album, Abu Talib’s (Bobby Wright) plaintive ‘Blood Of An American’ and Robert Vanderbilt’s gospel reworking of Manchild’s ‘Especially For You’. Raw soul and feeling oozing from each song’s pores.
At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible ‘Moments In Love’, Kaitlyn Aurelia Smith whose ‘Milk’ is an exercise in tranquility, while Sarah Davachi’s meditative mix-opener offers respite from a weary world.
We have some exclusive tracks for Late Night Tales; alongside Davachi’s offerings there is also Toshimaru Nakamura’s ‘Nimb #59’, as well as the now traditional cover version. hepherd delved into his childhood memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler’s ‘Music For Large & Small Ensembles’: Sam offers up his interpretation of ‘Opening Part 1’. Wheeler also contributes horns to Azimuth track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points’ drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem ‘Ah! Why, Because The Dazzling Sun’ by Emily Brontë.
“I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it’s quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.” - Sam Shepherd (Floating Points) March 2019
Sam Shepherd aka Floating Points’ music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and – yes – feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the ‘Shadows EP’ and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album ‘Elaenia’, which met with critical acclaim upon its release in 2015.
This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There’s the gorgeous ‘Via Làctea’, culled from Carlos Walker’s debut album, Abu Talib’s (Bobby Wright) plaintive ‘Blood Of An American’ and Robert Vanderbilt’s gospel reworking of Manchild’s ‘Especially For You’. Raw soul and feeling oozing from each song’s pores.
At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible ‘Moments In Love’, Kaitlyn Aurelia Smith whose ‘Milk’ is an exercise in tranquility, while Sarah Davachi’s meditative mix-opener offers respite from a weary world.
We have some exclusive tracks for Late Night Tales; alongside Davachi’s offerings there is also Toshimaru Nakamura’s ‘Nimb #59’, as well as the now traditional cover version. hepherd delved into his childhood memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler’s ‘Music For Large & Small Ensembles’: Sam offers up his interpretation of ‘Opening Part 1’. Wheeler also contributes horns to Azimuth track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points’ drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem ‘Ah! Why, Because The Dazzling Sun’ by Emily Brontë.
“I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it’s quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.” - Sam Shepherd (Floating Points) March 2019
STAFF COMMENTS
Patrick says: Classically trained musical genius, production whizz and record obsessive Floating Points helms this edition of the long running series, and it's just as good as you'd hope! Electronic lullabies, rare soul, Brazilian funk and modern classical, all brought together into a truly nocturnal journey. It nearly had Matt Ward in tears on release date - it's that good.TRACK LISTING
1. Sarah Davachi – Untitled, Live In Portland (Excerpt) (Exclusive Track)
2. Carlos Walker - Via Láctea
3. The Rationals – Glowin’
4. William S. Fischer – Chains
5. Max Roach - Equipoise
6. Abu Talib (Bobby Wright) - Blood Of An American
7. Sweet & Innocent - Express Your Love
8. Robert Vanderbilt & The Foundation Of Souls - A Message Especially From God
9. The Defaulters - Gentle Man
10. Alain Bellaïche – Sun Blues
11. Alain Bellaïche - Sea Fluorescent
12. Kara-Lis Coverdale – Moments In Love (Excerpt)
13. Azimuth – The Tunnel
14. Kaitlyn Aurelia Smith – Milk (Excerpt)
15. Toshimaru Nakamura – Nimb#59 (Exclusive Track)
16. Floating Points – The Sweet Time Suite, Part I - Opening (Exclusive Kenny Wheeler Cover Version)
17. Lauren Laverne - Ah! Why, Because The Dazzling Sun (Exclusive Spoken Word Piece)
UK electronic artpop outfit Hot Chip provide the perfect antidote to these strange and uncertain times with the latest release in the hugely popular LateNightTales artist-curated series.
Along with featuring new music from the band, they have selected music from some of the most engaging artists of the 21st century, taking in pulsating electronic rhythms, hypnotic grooves and leftfield ambience.
Spearheaded by founders Alexis Taylor and Joe Goddard, Hot Chip are one of the UK’s most interesting and much-loved acts. Since releasing their debut album ‘Coming On Strong’ in 2004, they have received a Grammy Award nomination (‘Ready for the Floor’) and Mercury Prize nomination (‘The Warning’) and their seventh studio album, last year’s ‘A Bath Full of Ecstasy,’ received rave reviews across the globe from both critics and fans.
A unique, personal collection that is both euphoric and melancholic.
“I think we all had slightly different understandings of what a Late Night Tales compilation might consist of; varying interpretations of the brief. For some the mix might be what you’d want to listen to as your late night continues, after a night out. For others maybe it suggested a selection of music for listening to as you drift off to sleep; then again it could just be music evocative of night time, or concerned with its traditionally ‘darker’ moods,” says Taylor.
Hot Chip’s ‘LateNightTales’ opens with the simplistic beauty of Christina Vantzou’s ‘At Dawn,’ before morphing in to the first of four exclusive tracks from the band - the floating, transcendent ‘Nothing’s Changed’, before Rhythm & Sound ft. Cornell Campbell serve up the heavy dub classic, ‘King In My Empire’.
The journey continues with Pale Blue’s ‘Have You Passed Through This Night’, a silky, cold wave disco track, while Suzanne Kraft’s ‘Femme Cosmic’ and Fever Ray’s ‘To The Moon and Back’ provide squelchy synth-pop. Furthermore, the punchy ‘Much To Touch’ from Bolton-born, Berlin based producer Planningtorock and an ethereal cover of Velvet Underground’s ‘Candy Says’ by our hosts add an element of displacement and detachment.
Elsewhere, other highlights include an appearance from synth-pop auteur Kaitlyn Aurelia Smith with ‘Who I Am & Why I Am Where’ and new material from Alexis’ ‘other’ band, the improv-mavens About Group, along with the adventurous ‘Workaround Two’ from electronic experimentalist Beatrice Dillon and German composer, Nils Frahm’s beautifully evocative ‘Ode’. But it is left to Alexis’ father to have the final word, with an elegant excerpt from the daring ‘Finnegans Wake’ by James Joyce.
“We’ve put together a mix of music which ties all of these ideas together and represents some of our favourite music new and old, some of it directly influential on Hot Chip and some of it music we have discovered and loved, been surprised by and connected to. There are three new songs of ours which we’re really proud of, and which I think connect naturally with the nocturnal world the compilation speaks of, and a cover of ‘Candy Says’ which is one of the first songs the very early version of Hot Chip played when we were still at school,” says Taylor.
The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.
Along with featuring new music from the band, they have selected music from some of the most engaging artists of the 21st century, taking in pulsating electronic rhythms, hypnotic grooves and leftfield ambience.
Spearheaded by founders Alexis Taylor and Joe Goddard, Hot Chip are one of the UK’s most interesting and much-loved acts. Since releasing their debut album ‘Coming On Strong’ in 2004, they have received a Grammy Award nomination (‘Ready for the Floor’) and Mercury Prize nomination (‘The Warning’) and their seventh studio album, last year’s ‘A Bath Full of Ecstasy,’ received rave reviews across the globe from both critics and fans.
A unique, personal collection that is both euphoric and melancholic.
“I think we all had slightly different understandings of what a Late Night Tales compilation might consist of; varying interpretations of the brief. For some the mix might be what you’d want to listen to as your late night continues, after a night out. For others maybe it suggested a selection of music for listening to as you drift off to sleep; then again it could just be music evocative of night time, or concerned with its traditionally ‘darker’ moods,” says Taylor.
Hot Chip’s ‘LateNightTales’ opens with the simplistic beauty of Christina Vantzou’s ‘At Dawn,’ before morphing in to the first of four exclusive tracks from the band - the floating, transcendent ‘Nothing’s Changed’, before Rhythm & Sound ft. Cornell Campbell serve up the heavy dub classic, ‘King In My Empire’.
The journey continues with Pale Blue’s ‘Have You Passed Through This Night’, a silky, cold wave disco track, while Suzanne Kraft’s ‘Femme Cosmic’ and Fever Ray’s ‘To The Moon and Back’ provide squelchy synth-pop. Furthermore, the punchy ‘Much To Touch’ from Bolton-born, Berlin based producer Planningtorock and an ethereal cover of Velvet Underground’s ‘Candy Says’ by our hosts add an element of displacement and detachment.
Elsewhere, other highlights include an appearance from synth-pop auteur Kaitlyn Aurelia Smith with ‘Who I Am & Why I Am Where’ and new material from Alexis’ ‘other’ band, the improv-mavens About Group, along with the adventurous ‘Workaround Two’ from electronic experimentalist Beatrice Dillon and German composer, Nils Frahm’s beautifully evocative ‘Ode’. But it is left to Alexis’ father to have the final word, with an elegant excerpt from the daring ‘Finnegans Wake’ by James Joyce.
“We’ve put together a mix of music which ties all of these ideas together and represents some of our favourite music new and old, some of it directly influential on Hot Chip and some of it music we have discovered and loved, been surprised by and connected to. There are three new songs of ours which we’re really proud of, and which I think connect naturally with the nocturnal world the compilation speaks of, and a cover of ‘Candy Says’ which is one of the first songs the very early version of Hot Chip played when we were still at school,” says Taylor.
The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.
STAFF COMMENTS
Martin says: Two decades into their career and it’s fair to say that the enduring electro-poppers know a thing or two about a tune, and their entry into the Late Night Tales series is brimming with them. Any DJ mix which includes Rhythm & Sound, Nils Frahm and a cover version of the Velvet Underground is fine by me.TRACK LISTING
CD:
01. Christina Vantzou – At Dawn
02. Hot Chip – Nothing’s Changed (Exclusive Track)
03. Rhythm & Sound Feat Cornell Campbell – King In My Empire
04. Pale Blue – Have You Passed Through This Night
05. Suzanne Kraft - Femme Cosmic
06. Fever Ray – To The Moon And Back
07. Planningtorock - Much To Touch
08. Charlotte Adigéry – 1,618
09. Mike Salta – Hey Moloko
10. Matthew Bourne – Somewhere I Have Never Travelled (for Coral Evans)
11. Hot Chip – Candy Says (Exclusive Velvet Underground Cover Version)
12. Kaitlyn Aurelia Smith – Who I Am And Why Am I Where
13. About Group – The Long Miles
14. Beatrice Dillon – Workaround Two
15. Hot Chip – Worlds Within Worlds (Exclusive Track)
16. Daniel Blumberg - The Bomb
17. Nils Frahm - Ode
18. Hot Chip – None Of These Things (Exclusive Track)
19. Neil Taylor - Finnegan's Wake Excerpt (Exclusive Spoken Word Piece)
LP:
A1. Christina Vantzou - At Dawn (2:51)
A2. Hot Chip - Nothing's Changed (4:37)
A3. Rhythm & Sound Ft Cornell Campbell - King In My Empire (Burial Mix) (6:26)
A4. Pale Blue - Have You Passed Through This Night (6:20)
B1. Suzanne Kraft - Femme Cosmic (4:43)
B2. Fever Ray - To The Moon And Back (4:38)
B3. PlanningToRock - Much To Touch (4:42)
B4. Charlotte Adigery - 1,618 (5:59)
C1. Mike Salta - Hey Moloko (4.05)
C2. Matthew Bourne - Somewhere I Have Never Travelled (4:04)
C3. Hot Chip - Candy Says (3:31)
C4. Kaitlyn Aurelia Smith - Who I Am & Why I Am Where (5:21)
C5. Beatrice Dillon - Workaround Two (4:22)
D1. Hot Chip - Worlds Within Worlds (5:38)
D2. Daniel Blumberg - The Bomb (4:59)
D3. Nils Frahm - Ode (4:35)
D4. Hot Chip - None Of These Things (4:04)
D5. Neil Taylor - Finnegan's Wake Excerpt (1:48)
Late Night Tales reissues the classic and hard-to- find ‘Late Night Tales: Jamiroquai’, compiled by none other than Jay Kay himself. The 10th edition of what is now a classic series of compilations was originally released 20 years ago, and hasn’t been available on vinyl for over 15 years. A blissful collection of soul, disco, jazz, rare groove, and funk, this collection is an electrifying journey through the aural influences of one of the UK’s most seminal jazz bands.
Jay Kay showcases a wealth and breadth of in- spiration that wouldn’t be amiss on the late-night dancefloors of the Loft (or Giant Steps, for that mat- ter). From The Pointer Sisters’ uplifting and soulful ‘Happiness’ and jazz funk legend Johnny ‘Smith’ Hammond’s ‘Fantasy’ to the anthemic ‘Stay Free’ by Ashford & Simpson and mellifluous ‘Music Of The Earth' by Patrice Rushen, these two discs form a rite of passage into the creative mind of a true musical legend.
Jay Kay showcases a wealth and breadth of in- spiration that wouldn’t be amiss on the late-night dancefloors of the Loft (or Giant Steps, for that mat- ter). From The Pointer Sisters’ uplifting and soulful ‘Happiness’ and jazz funk legend Johnny ‘Smith’ Hammond’s ‘Fantasy’ to the anthemic ‘Stay Free’ by Ashford & Simpson and mellifluous ‘Music Of The Earth' by Patrice Rushen, these two discs form a rite of passage into the creative mind of a true musical legend.
TRACK LISTING
A
01 The Pointer Sisters - Happiness 3:58
02 Commodores - Girl I Think The World About You 4:33
03 Rufus & Chaka Khan - Once You Get Started 4:26
04 Johnny Hammond - Fantasy 7:24
B
05 Ramsey Lewis - Whisper Zone 3:01
06 Leon Ware - What's Your Name 4:11
07 Ashford & Simpson - Stay Free 5:22
08 Kleeer – Tonight's The Night 7:13
C
09 Dexter Wansel - I'll Never Forget 4:28
10 Sister Sledge - Pretty Baby 4:00
11 José Feliciano - California Dreaming 4:11
12 Dexter Wansel - Life On Mars 7:20
D
13 Lalo Schifrin - Theme From Enter The Dragon 2:22
14 Marvin Gaye - Here, My Dear 2:59
15 Patrice Rushen - Music Of The Earth 3:56
16 Brian Blessed - The White City Part 3 9:31
“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relaxation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei.
Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequent LPs, Wallflower and Origin, came out on Ninja Tune, the former #2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says, there’s so much more to the song selection on Late Night Tales’ latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same effect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collaboration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collaborated with, and one of the first artists to be involved in my career,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative narrative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radiohead’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive, original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a family affair. Not the blood is thicker than water kind, but certainly musical kindred spirits.
Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequent LPs, Wallflower and Origin, came out on Ninja Tune, the former #2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says, there’s so much more to the song selection on Late Night Tales’ latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same effect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collaboration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collaborated with, and one of the first artists to be involved in my career,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative narrative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radiohead’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive, original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a family affair. Not the blood is thicker than water kind, but certainly musical kindred spirits.
STAFF COMMENTS
Barry says: There are very few labels as influential in the compilation game as Late Night Tales, and this newest outing from Jordan Rakei is one of the best yet. Flitting between downbeat jazz business and more ambient pieces, this collection is perfect for popping on and zoning out to. Brilliantly paced and superbly selected, this is a fascinating insight into Rakei's influences, and most of all, a great listen.TRACK LISTING
Mixed CD Version
Incl. Unmixed Tracks Via Download As MP3 / FLAC/ WAV
1. Fink - Covering Your Tracks
2. Alfa Mist – Mulago
3. Charlotte Day Wilson – Mountains
4. Moreton Feat. Jordan Rakei – Count A Heart (Exclusive Track)
5. Puma Blue – Untitled 2
6. Connan Mockasin – Momo’s
7. C Duncan - He Came From The Sun
8. Oso Leone – Virtual U
9. Joe Armon-Jones - Idiom Ft. Oscar Jerome
10. Snowpoet – Eviternity
11. MARO – Forever & Always
12 Homay Schmitz – Speak Up
13. Bill Laurance - Singularity
14 Jordan Rakei - Lover, You Should've Come Over (Exclusive Jeff Buckley Cover Version)
15 Jordan Rakei – Codex (Exclusive Radiohead Cover Version)
16. Cubicolor - Counterpart
17. Jordan Rakei – Imagination (Exclusive New Track)
18. Alejandro González Iñárritu - Imagination (Exclusive Spoken Word Piece)
Unmixed Vinyl Version
(includes Mixed And Unmixed Tracks As Download As MP3 / FLAC / WAV)
A1. Fink - Covering Your Tracks
A2. Alfa Mist - Mulago
A3. Charlotte Day Wilson - Mountains
A4. Moreton Feat Jordan Rakei - Count A Heart (Exclusive Track)
B1. Puma Blue - Untitled 2
B2. Connan Mockasin - Momo's
B3. C Duncan - He Came From The Sun
B4. Oso Leone - Virtual U
B5. Joe Armon-Jones & Maxwell Owin - Idiom Ft Oscar Jerome
C1. Snowpoet - Everternity
C2. Maro - Forever & Always
C3. Homay Schmitz - Speak Up
C4. Bill Laurence - Singularity
D1. Jordan Rakei - Lover, You Should've Come Over (Exclusive Jeff Buckley Cover Version)
D2. Cubicolour - Counterpart
D3. Jordan Rakei - Imagination(Exclusive New Track)
D4. Alejandro González Iñárritu - Imagination (Exclusive Spoken Word Piece)
Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.
Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”
With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.
Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.
“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”
The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.
Through the cascading strings and shimmering harp of Santana & Coltrane’s opener, Khurangbin begin their dream sequence, an uncanny hour of vignettes in a land free from the conventions of space and time. The loved up dub of Houston contemporaries Brilliantes Del Vuelo gives way to blistering disco from 80s Bollywood, a cult art-pop classic from NY’s Downtown follows the sublime Blaxploitation soul of Gerald Lee. Songs separated by distance and decades sit happily side by side, united by an optimistic mood and ever-present groove. More than this though, each of these songs share a transportive quality; listening to the Nigerian boogie of Mawell Udoh, it’s impossible not to picture a Lagos nightspot, or the skyscrapers of Seoul when Sanullim’s soft pop stunner bounds out of the speakers. Even the band's own exceptional cover of Kool's 'Summer Madness' offers a deep concentration of the Khruangbin style, an invitation into their personal Shangri-La.
In an era in which the race for the rare can leave even the finest diggers blind to the actual merit of the music, Khruangbin's melodies sans frontières is a remarkable feat, each selection superb on its own and sublime taken together.
Khruangbin around the world and I, I, I can’t fight it baby.
Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”
With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.
Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.
“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”
The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.
STAFF COMMENTS
Patrick says: Though I swiftly snapped up a copy of their first RSD single on the advice of my more experienced Balearic brethren, it was an early online mixtape which truly turned me on to this Houston Trio. Awash with Thai funk, Brazilian soul and hazy dub, this set beguiled rather than banged, encompassing that soothing, grooving style which has since become their signature. Naturally I came to this, their first official compilation, and on the excellent Late Night Tales no less, with the highest expectations; all of which were exceeded over the course of this mesmeric mix.Through the cascading strings and shimmering harp of Santana & Coltrane’s opener, Khurangbin begin their dream sequence, an uncanny hour of vignettes in a land free from the conventions of space and time. The loved up dub of Houston contemporaries Brilliantes Del Vuelo gives way to blistering disco from 80s Bollywood, a cult art-pop classic from NY’s Downtown follows the sublime Blaxploitation soul of Gerald Lee. Songs separated by distance and decades sit happily side by side, united by an optimistic mood and ever-present groove. More than this though, each of these songs share a transportive quality; listening to the Nigerian boogie of Mawell Udoh, it’s impossible not to picture a Lagos nightspot, or the skyscrapers of Seoul when Sanullim’s soft pop stunner bounds out of the speakers. Even the band's own exceptional cover of Kool's 'Summer Madness' offers a deep concentration of the Khruangbin style, an invitation into their personal Shangri-La.
In an era in which the race for the rare can leave even the finest diggers blind to the actual merit of the music, Khruangbin's melodies sans frontières is a remarkable feat, each selection superb on its own and sublime taken together.
Khruangbin around the world and I, I, I can’t fight it baby.
TRACK LISTING
CD Tracklist:
1. Carlos Santana - Illuminations
2. Brilliantes Del Veulo - I Know That
3. Nazia Hassan - Khushi
4. Kelly Doyle - DRM
5. Sanulim - Dont Go
6. Maxwell Udoh - I Like It
7. David Marez - Enseñame
8. Gerald Lee - Can You Feel The Love
9. Justine & The Victorian Punks - Still You
10. George Yanagi - À�祭ばやしが聞こえる」のテーマ
11. Песняры - Зачарованная моя
12. Khruangbin - Summer Madness (Exclusive Track)
13. Paloma San Basilio - Contigo
14. Roha Band - Yetikimt Abeba
15. Tierney Malone & Geoffrey Muller - Transmission For Jehn: Gnossienne No 1 (Exclusive Spoken Word Track)
Vinyl Tracklist:
A1. Carlos Santana - Illuminations - 4. 23
A2. Brilliantes Del Veulo - I Know That - 5.20
A3. Nazia Hassan - Khushi - 4.25
A4. Kelly Doyle - DRM - 2.16
C9. Justine & The Victorian Punks - Still You - 7.45
C10. George Yanagi - À�祭ばやしが聞こえる」のテーマ - 4.02
C11. Песняры - Зачарованная моя - 5.54
D12. Khruangbin - Summer Madness - 3.21 (Exclusive Track)
D13. Paloma San Basilio - Contigo - 4.03
D14. Roha Band - Yetikimt Abeba - 5.20
D15. Tierney Malone & Geoffrey Muller - Transmission For Jehn: Gnossienne No 1- 5.00 (Exclusive Spoken Word Piece)
Latin Freestyle was a dizzying, passionate, ultra-modern music. It was the aural equivalent of a can of thirst-quenching Quatro or a Spanish Harlem dance-off, and it became the electronically constructed bridge between disco and house.
Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.
Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.
Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.
Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.
Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.
Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.
TRACK LISTING
1. Point Of No Return - Expose
2. Don't Be Shy (vocal/radio Mix) - Janelle
3. Lover Girl - Meg
4. Two Of Hearts (12'' Version) - Stacey Q
5. Together Forever (radio Edit) - Lisette Melendez
6. I Wonder If I Take You Home – Lisa Lisa & Cult Jam With Full Force
7. When I Hear Music - Debbie Deb
8. Let's Go (Radio Version) - Nocera
9. Funky Little Beat - Connie
10. Show Me - Cover Girls
11. Nightime - Pretty Poison
12. Fascinated (12'' Version) - Company B
13. Dreamin' - Will To Power
14. Baby Talk - Alisha
15. Take Me In Your Arms - Lil Suzy
16. Thief Of Heart - Cynthia
We are all artefacts for space travel, to paraphrase William Burroughs. Yet how to facilitate such journeys into either inner or outer space? This luckily is where Rocket Recordings come in, 25 years into their continuing mission. Operating from a 1998 launchpad in Bristol, Rocket’s questing vision has made them pathfinders for a particular kind of psychic terrain. The label may have been founded on disparate and dissolute passions - the vital grit and street-level attack of old-skool Hip Hop and Thrash Metal, the power of repetition, the astral awaydays of Hawkwind, the Fuzz and Wah of garage rock and early Sub Pop and the constellational signposts that connect Can, Funkadelic, Wax Trax Records & Aphex Twin on a map to other dimensions. Yet the stubbornly uncompromising ethos has always been to push beyond boundaries into areas which even the true heads have thus far never ventured. To celebrate a quarter century on the outer realms of exploration, Rocket presents you with a vital celebratory compilation collecting together eight of the current Rocket roster, all offering full-throttle salvos of metaphysical salvation. Resplendent in third-eye-cleansing sleeve art referencing French comic artist Philippe Caza, it’s a travelogue that traverses from the amp[1]damaging repetitive thunder of Gnod’s ‘Nought Sayin’ to the minimal electronic spellcasting of J. Zunz’s ‘Radix’, from the unsettling invective of Shit & Shine’s gleefully ornery ‘What’d You Mean, What?, What’ to the drone-based bliss of Centrum’s ‘Dü är så värdefull’, from Och’s nocturnal revelations to The Utopia Strong’s celestial visions, and from the potent rural vibrations of Smote’s ‘Coal Tongue’ to Goat’s dancefloor-ready ‘Goatsnake’ without losing coherence or focus.LAUNCH300 measures out the widescreen horizons of Rocket Recordings as it embarks on the next quarter century - a label with its feet on the ground and its head mapping out a defiant course for the unknown. Get on board.
TRACK LISTING
1. Smote – Coal Tongue
2. Goat – Goatsnake
3. Och – Inebriantia
4. Shit & Shine – What’d You Mean, What?
5. Gnod – Nought Sayin’
6. J. Zunz – Radix
7. Centrum – Du Är Så Värdefull
8. The Utopia Strong – Harpies
A new compilation put together by Sean Mclusky & Ludovic Merle compliling the best new bands coming out of France. 22 pieces of proof that the new New Cross is more likely to be Pigalle than Peckham. It actually came about by accident, with co-compilers Sean and Ludovic taking such UK bands as 80s Matchbox, The Beatings etc over to Paris to play, and finding that they were constantly being given great music by struggling wastrels of this invisible movement. They spent a year scanning the French rock'n'roll scene and their findings are on this disc. So, if France doesn't know what it's got then - as with the White Stripes or the Strokes in America – we Brits are going to have to lay it on the line for them.
Various Artists
Lead Kindly Light: Pre-War Music And Photographs From The American South
Dust To Digital
What happens when a 78 collector marries a collector of antique photographs? Lead Kindly Light. Recordings of Rural Southern Music: Old Time, String Band Music from Appalachia, extremely rare Country Blues and African American gospel singing from 1924-1939.
159 Photographs from the Collection of Sarah Bryan reproduced in full color. 46 Audio Recordings from the 78RPM Record Collection of Peter Honig. 176-page hardcover book with 2 CDs. 8.5 inches x 6.5 inches. A portrait of the rural American South between the dawn of the twentieth century and World War II, Lead Kindly Light brings together two CDs of traditional music from early phonograph records and a fine hardcover book of never-before-published vernacular photography.
North Carolina collectors Peter Honig and Sarah Bryan have spent years combing backroads, from deep in the Appalachian mountains to the cotton and tobacco lowlands, in search of the evocative music and images of the pre-War South. The music of Lead Kindly Light presents outstanding lesser-known recordings by early stars of recorded country music, as well as rarely- and never-reissued treasures by obscure country, blues, and gospel artists. The photographs, mainly images of the rural and small-town South, are richly textured depictions of family life, work, and fun, and the often accidental beauty of the vernacular snapshot.
159 Photographs from the Collection of Sarah Bryan reproduced in full color. 46 Audio Recordings from the 78RPM Record Collection of Peter Honig. 176-page hardcover book with 2 CDs. 8.5 inches x 6.5 inches. A portrait of the rural American South between the dawn of the twentieth century and World War II, Lead Kindly Light brings together two CDs of traditional music from early phonograph records and a fine hardcover book of never-before-published vernacular photography.
North Carolina collectors Peter Honig and Sarah Bryan have spent years combing backroads, from deep in the Appalachian mountains to the cotton and tobacco lowlands, in search of the evocative music and images of the pre-War South. The music of Lead Kindly Light presents outstanding lesser-known recordings by early stars of recorded country music, as well as rarely- and never-reissued treasures by obscure country, blues, and gospel artists. The photographs, mainly images of the rural and small-town South, are richly textured depictions of family life, work, and fun, and the often accidental beauty of the vernacular snapshot.
TRACK LISTING
DISC 1
1. Buster Carter And Preston Young – “I’ll Roll In My Sweet Baby’s Arms”
2. Georgia Yellow Hammers – “Mary Don’t You Weep”
3. Narmour & Smith – “Jake Leg Rag”
4. Prince Moore – “Church Bells”
5. Roane County Ramblers – “Callahan Rag”
6. Banjo Joe – “Engineer Joe”
7. Ernest Phipps And His Holiness Quartet – “I Want To Go Where Jesus Is”
8. Amos Baker – “I Wish I Were A Mole In The Ground”
9. Lewis Brothers – “When Summer Comes Again”
10. Dykes’ Magic City Trio – “Frankie”
11. Leake County Revelers – “Johnson Gal”
12. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt On Stump House Mountain, Part 1”
13. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt On Stump House Mountain, Part 2”
14. Mississippi Bracey– “Stered Gal”
15. Jilson Setters – “Little Boy Working On The Road”
16. Loveless Twins Quartet – “Lead Kindly Light”
17. Al Hopkins And His Buckle Busters – “Roll On The Ground”
18. J. E. Mainer’s Mountaineers – “Concord Rag”
19. Uncle Eck Dunford And Ernest Stoneman – “Barney McCoy”
20. Blue Ridge Highballers – “Round Town Girls”
21. Carter Family – “Motherless Children”
22. Rev. W. M. Mosley And His Congregation – “Labor For The Lord”
23. Home Folk Fiddlers – “Arkansas Hoedown”
Disc 2
1. Allen Brothers – “Skipping And Flying”
2. Fiddlin’ Sam Long Of The Ozarks – “Sandy Land”
3. Rev. J. C. Burnett – “True Friendship”
4. Narmour And Smith – “Tequila Hop Blues”
5. Orville Reed – “The Telephone Girl”
6. Burnett And Ruttledge – “Blackberry Blossoms”
7. Kid Williams And Bill Morgan – “When He Died He Got A Home In Hell”
8. Buster Carter And Preston Young – “It’s Hard To Love And Can’t Be Loved”
9. Carter Family – “Kitty Waltz”
10. Birmingham Entertainers – “Johnny Bring The Jug ‘Round The Hill”
11. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 1”
12. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 2”
13. Mainer’s Mountaineers – “Train Carry My Girl Back Home”
14. Miller’s Merrymakers – “Old Time Breakdown”
15. Riley Puckett – “Railroad Bill”
16. Leake County Revelers – “Been To The East, Been To The West”
17. Charlie Bowman And His Brothers – “Gonna Raise The Ruckus Tonight” 18. Charlie Parker And Mack Woolbright – “Man Who Wrote The Home Sweet Home Never Was A Married Man”
19. Dykes’ Magic City Trio – “Cotton Eyed Joe”
20. Joe Smith – “Kidnapping Is A Terrible Crime”
21. Rev. W. M. Mosley – “The Comforter Has Come”
22. Roane County Ramblers – “Johnson City Rag”
23. Jilson Setters – “Way Up On Clinch Mountain”
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music. Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge. “You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few.
The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself. “‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.”
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few.
The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself. “‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.”
TRACK LISTING
A1. Aint About Me – Watching Tarot Card XVI Come To Life
A2. Dreamcastmoe & Shungu – Don’t Let Me Down
A.3 Iman Houssein – Their Eyes
A4. Qur’an Shaheed – Thrive
B1. Makaya McCraven – Crash Course
B2. CōS – Ayy Thank Full
B3. Trian Kayhatu – OK Dan
B4. Regal86 – Parado En La Esquina
C1. Abrahamblue – Joanna
C2. DJ Spinn – Synthshot
C3. Igor Jadranin – NUB
C4. Shlundee – Acid 2 Acid
D1. LB Aka Labat – Ca Chauffe Tonton
D2. Elisa Bee – A Sun That Never Goes Down
D3. Pippin – Ro
Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 - with futuristic, overlapping trumpets and exquisite clarinet improvisation - through to a hauntingly soulful Hāfez setting by Moluk Zarrābi of Kāshān, from 1933.
There are eight selections from more than three hundred recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. ‘I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.’
A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. ‘Parvāneh’, for example, ‘Butterfly’ - represented by her interpretations of Sa‘di and Hāfez, with self-accompaniment on setar, a three-stringed lute (‘seh’, three; ‘tar’, string), Iranian ancestor of the Indian sitar: ‘I am the slave of love…’ And Helen, with some boozy Hāfez wisdom: ‘Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.’
Moluk Zarrābi - together with Qamar-ol-Moluk Vaziri - featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. (It sounds like another stupendously gifted Iranian Jewish musician - Yahyā Zarpamjeh - accompanying Akhtar.) Alongside one of these duets, two of Ney-Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking.
The two CDs are sumptuously presented in a hard-back gatefold sleeve, with a 26-page booklet containing full notes and marvellous photos, on fine-art papers, stitched not stapled. The four 180g LPs are presented in two gatefold sleeves inside a heavy card slipcase, with a 12”-square, 20-page, saddle-stitched booklet on art paper. The music was restored from 78s at Abbey Road studio in London.
There are eight selections from more than three hundred recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. ‘I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.’
A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. ‘Parvāneh’, for example, ‘Butterfly’ - represented by her interpretations of Sa‘di and Hāfez, with self-accompaniment on setar, a three-stringed lute (‘seh’, three; ‘tar’, string), Iranian ancestor of the Indian sitar: ‘I am the slave of love…’ And Helen, with some boozy Hāfez wisdom: ‘Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.’
Moluk Zarrābi - together with Qamar-ol-Moluk Vaziri - featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. (It sounds like another stupendously gifted Iranian Jewish musician - Yahyā Zarpamjeh - accompanying Akhtar.) Alongside one of these duets, two of Ney-Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking.
The two CDs are sumptuously presented in a hard-back gatefold sleeve, with a 26-page booklet containing full notes and marvellous photos, on fine-art papers, stitched not stapled. The four 180g LPs are presented in two gatefold sleeves inside a heavy card slipcase, with a 12”-square, 20-page, saddle-stitched booklet on art paper. The music was restored from 78s at Abbey Road studio in London.
TRACK LISTING
Ebrāhim, Royal Orchestra - Bidād (Homāyun)
Rezā-Qoli, Akbar - Gavri (Shur)
Seyyed Hoseyn Tāherzādeh, Habibollāh Moshir
Homāyun - Bayāt Esfahān (Homāyun)
Seyyed Hoseyn Tāherzādeh, Akbar - Darāmad (Homāyun)
Not Known - Tar Solo
Moluk Zarrābi - Darāmad, Dād (Māhur)
Parvāneh - Mansuri (Chahārgāh)
Parvāneh - Zābol, Mokhālef (Segāh)
Abd-ol-Hoseyn Shahnāzi - Mokhālef (Segāh)
Akhtar - Bayāt Esfahān, Bayāt Rāje‘ (Homāyun)
Javād Badi‘zādeh - Morgh‐e Bi‐Āshiān Afshāri (Shur)
Irān‐od‐Dowleh Helen - Bidād (Homāyun)
Moluk - Dashti (Shur)
Montakhab-oz-Zākerin - Qafqāz I (Segāh)
Montakhab-oz-Zākerin - Qafqāz II (Segāh)
Abd-ol-Hoseyn Shahnāzi - Darāmad (Homāyun)
Hayk - Shushtar (Homāyun)
Qoli, Royal Orchestra - Abu-‘Atā (Shur)
Seyyed Hoseyn Tāherzādeh, Akbar - Qafqāz (Segāh)
Seyyed Hoseyn Tāherzādeh, Hoseyn - Darāmad, Bayāt Rāje‘ (Navā)
Seyyed Hoseyn Tāherzādeh, Akbar - Afshāri (Shur) Asadollāh, Rezā-Qoli - Shahnāz (Shur)
Rezā-Qoli, Bāqer, Akbar, Moshir-Homāyun - Nā Dideh Rokhat / Bayāt Esfahān (Homāyun)
Abd-ol-Hoseyn Shahnāzi - Māvarā’-an-Nahr (Rāst‐Panjgāh)
Irān-od-Dowleh Helen - Darāmad, Dād, Khāvarān (Māhur) Irān-od-Dowleh Helen - Delkash, ‘Erāq (Māhur)
Adib Khānsāri - ‘Erāq (Māhur)
Irān-od-Dowleh Helen - Golriz (Shur)
Ruhangiz - Darāmad, Zābol (Segāh)
Akhtar - Hejāz (Shur)
Mortezā Ney-Dāvud - Bayāt Esfahān, Bayāt Rāje‘ (Homāyun)
Mortezā Ney-Dāvud - ‘Oshshāq, Bayāt Esfahān (Homāyun)
Moluk Zarrābi - Darāmad, Zābol (Chahārgāh)
Abd-ol-Hoseyn Shahnāzi - Bidād (Homāyun)
Various Artists
Let The Electric Children Play - The Underground Story Of Transatlantic Records: 3 Disc Deluxe Remastered Anthology
Esoteric
Esoteric Recordings are proud to announce the release of a new deluxe 3CD which tells the story of the so-called “underground” era of one of Britain’s great independent record labels of the 1960s & 1970s, Transatlantic Records. In the heady atmosphere of the late 1960s, the sea change in British popular music spearheaded by the Beatles experimentation on the Sergeant Pepper album and swiftly followed by the likes of Cream, Pink Floyd, Traffic, Family, Procol Harum, Jethro Tull and a host of groups and musicians who followed in their footsteps led to the album being seen as the medium in which “serious” musicians would explore and develop their craft. The apparently disparate genres of blues, jazz, rock, folk and even world music were fused together by many diverse acts all of whom were eager to be regarded as “progressive” in their musical approach. The so-called “underground” audience eagerly consumed this music, which sat alongside the social changes that were also taking place. Featuring over three and a half hours of newly re-mastered music over three CDs, “Let the Electric Children Play” documents the fascinating story of a unique period in the history of one of Britain’s most eccentric labels. This deluxe anthology also includes a lavishly illustrated booklet with new essay and artist biographies housed in a clamshell boxed set.
TRACK LISTING
DISC ONE:
1. WE CAN SWING TOGETHER – Alan Hull
2. II B.S. – Circus
3. MIDSUMMER NIGHT’S HAPPENING- The Sallyangie
4. LIGHT FLIGHT – Pentangle
5. BILLY THE MONSTER – The Deviants
6. PAINT IT BLACK – Jody Grind
7. NORWEGIAN WOOD – Circus
8. OBADIAH’S GRAVE – Alan Hull
9. LUCIFER’S CAGE – Gordon Giltrap
10. ONCE I HAD A SWEETHEART – Pentangle
11. METAMORPHOSIS EXPLOSION – The Deviants
12. SATURDAY ROUNDABOUT SUNDAY (SINGLE VERSION) – The Humblebums
13. MAKIN’ TIME – Little Free Rock
14. MONA (A FRAGMENT) – Mick Farren
15. PLASTIC SHIT – Jody Grind
DISC TWO:
1. ALL IN YOUR MIND – Stray
2. BORN TO BE FREE – Marsupilami
3. WE’VE HAD IT – Jody Grind
4. MICE AND RATS IN THE LOFT – Jan Dukes De Grey
5. HOMAGE TO THE GOD OF LIGHT – Peter Bardens
6. AROUND THE WORLD IN 80 DAYS – Stray
7. MENDLE – Mr. Fox
8. PRELUDE TO THE ARENA – Marsupilami
9. DON’T EVER GIVE UP TRYING – Unicorn
10. REFLECTION – Pentangle
11. SKIN VALLEY SERENADE – Skin Alley
DISC THREE:
1. TEAR DOWN THE WALL – Peter Bardens
2. SON OF THE FATHER – Stray
3. DON’T COUNT ME OUT – Gerry Rafferty
4. NICK’S SEVEN – Skin Alley
5. SONG FROM THE 4th ERA – CMU
6. A DISTANT THOUGHT, A POINT OF LIGHT – CMU
7. THE UNGODLY – Decameron
8. FAIR FORTUNE’S STAR – Carolanne Pegg
9. MOVE IT (SINGLE VERSION) – Stray
10. SHELTER – Renia
11. OPENING MOVE – Gryphon
12. JOURNEY’S END – Decameron
13. CRIMINAL WORLD – Metro
We've had a rather tasty delivery of these - two separate releases found at the back of our distributor's warehouse after a recent de-clutter!
Banging 1995 acid on Woody McBride's Communique and Head In the Clouds labels. Not too dissimilar from the euphoric acid that’s doing the rounds at the moment.
Now these have been sitting in a box since mid 90's. So the sleeves are not that mint but the vinyl is totally fine.
"Let's Get Freaky" contains uncompromising acid trax from Dimension 13, Analogue Rencard, Dan Eben and DJ ESP. Those mid-90s drum machines are in overdrive; while distorted, gnarly 303 lines convenge on the madness. Inventive, 3-deck DJs are gonna get plenty of road miles outta these high calibre tools....
Banging 1995 acid on Woody McBride's Communique and Head In the Clouds labels. Not too dissimilar from the euphoric acid that’s doing the rounds at the moment.
Now these have been sitting in a box since mid 90's. So the sleeves are not that mint but the vinyl is totally fine.
"Let's Get Freaky" contains uncompromising acid trax from Dimension 13, Analogue Rencard, Dan Eben and DJ ESP. Those mid-90s drum machines are in overdrive; while distorted, gnarly 303 lines convenge on the madness. Inventive, 3-deck DJs are gonna get plenty of road miles outta these high calibre tools....
TRACK LISTING
A. Dimension 13 - Diving Bell
B. Analogue Rencart - 60 On Byshies
C. Dan Eben - Overrussel
D. DJ ESP - Kleiner
Housed in a clambox that includes a lavishly annotated and illustrated 44-page booklet. As that noted hipster Plato once observed, when the mode of the music changes, the walls of the city shake. And there was certainly a whole lotta shakin’ goin’ on in 1967. As the year progressed, it seemed that more or less every element of the British pop world had been swept up in the blissed-out UFOria. Beat boom survivors, R&B stalwarts, sharp-suited mods, Swinging London soul revues, earnest acoustic folkies, Denmark Street hustlers, traditional pop acts… all abandoned or refined their previous identities to make music that reflected the ubiquitous influence of psychedelia in its myriad paisley-patterned guises. Across four hours and eighty tracks, Let’s Go Down And Blow Our Minds anticipates the fiftieth anniversary of the Summer of Love to chronicle a tumultuous twelve-month period of music within the British Isles. The dizzying breadth of the set incorporates everything from key names such as The Move and Procol Harum, both represented with less obvious choices, to the likes of mondo obscuro West Country quintet T. J. Assembly, who pressed a mere 25 copies of their self-penned November 1967 album as a strictly personal memento of their time together.
Fat Wreck Chords head honch Fat Mike met up with the PETA activists on the 2002 Warped Tour. The result is this massive and inexpensive compilation, meant to bring awareness (CD-ROM animal rights info) to PETAs youth voice and to raise cash for the cause of animal rights. Featuring bands such as Anti Flag, Hot Water Music, International Noise Conspiracy, Goldfinger, Propagandhi, NOFX, Good Riddance, Midtown, The Faint, Good Charlotte, Frenzal Rhomb, Desparecidos and more.
The only authorized reissue of volume 2 of the all time classic dub album, originally released by Starlight Records on 1982. Now matched with a second disc of original vocal versions it includes previously unreleased tracks from Hell & Fire, Sister Nancy and Papa Tullo. Recorded with Roots Radics at Channel One, produced by Linval Thompson and mixed by Scientist & Prince Jammy it finds the Thompson and Scientist slap bang in their golden period, producing some of their most inspired work of their career. With new cover art by Tony McDermott (plus an impressive 2' by 2' poster) this is an excellent edition of one of the dub genre's greatest treasures. You need this!
TRACK LISTING
1. Earth (2:58)
2. Reconnaissance (3:04)
3. Base (2:38)
4. Life (3:45)
5. Contact (3:24)
Side 2
1. Denial (3:34)
2. City Of Gold (3:52)
3. Betrayal (2:50)
4. Conquest (3:46)
5. Victory"(3:51)
Side 3
1. The Viceroys - I'm Toiling On (2:53)
2. Sister Nancy - Can't Test (3:04)
3. Anthony Johnson - Africa (2:59)
4. The Viceroys - Rise In The Strength Of Jah (3:36)
5. Hell & Fire - Playboy Girl (3:36)
Side 4
1. Papa Tullo - Raggae Explosion (3:08)
2. The Viceroys - We Must Unite (3:50)
3. Freddie McKay - A Message (2:44)
4. Barrington Levy - I Love I Love You (3:09)
"Listen To The Music" is the second Pressure Sounds album of Caltone productions. It's a 21 track set of tunes that cover the years from 1966 to 1969. From the late period ska years through to early reggae. This album is full of rare rocksteady gems.
Ken Lack who founded the Caltone label was a businessman with a passion for music. His connections with Jamaica’s top session players resulted in a series of 45s that were both tasteful and well produced.
Included in this 21 track album are tracks by Tommy McCook and the Supersonics. 'Smooth Sailing' and 'Killer Joe' are both superb horn driven instrumentals. There are three tracks by The Clarendonians led by the vocal talents of Peter Austin. 'I'm Sorry' and 'Lonely Heartaches' are top draw rocksteady 45s that have never been re-issued since the original Jamaican pressings. It was Bunny Lee and Phil Pratt who handled most of the hands-on production for Ken Lack although there was undoubtedly much input from Lynn Tait, Tommy McCook and Johnny Moore.
The music recorded at WIRL, Federal and Treasure Isle studios is filled with the kind of creativity and attention to detail that has made Caltone records so collectable to this day. Ken Lack died in 2001 in Miami, Florida of a heart condition. He left behind a unique set of recordings and should be remembered for bringing a more collaborative and cooperative spirit to Jamaican music.
Ken Lack who founded the Caltone label was a businessman with a passion for music. His connections with Jamaica’s top session players resulted in a series of 45s that were both tasteful and well produced.
Included in this 21 track album are tracks by Tommy McCook and the Supersonics. 'Smooth Sailing' and 'Killer Joe' are both superb horn driven instrumentals. There are three tracks by The Clarendonians led by the vocal talents of Peter Austin. 'I'm Sorry' and 'Lonely Heartaches' are top draw rocksteady 45s that have never been re-issued since the original Jamaican pressings. It was Bunny Lee and Phil Pratt who handled most of the hands-on production for Ken Lack although there was undoubtedly much input from Lynn Tait, Tommy McCook and Johnny Moore.
The music recorded at WIRL, Federal and Treasure Isle studios is filled with the kind of creativity and attention to detail that has made Caltone records so collectable to this day. Ken Lack died in 2001 in Miami, Florida of a heart condition. He left behind a unique set of recordings and should be remembered for bringing a more collaborative and cooperative spirit to Jamaican music.
STAFF COMMENTS
Philippa says: "Listen To The Music" is the second Pressure Sounds album of Caltone productions. It's a 21 track set of tunes that cover the years from 1966 to 1969. From the late period ska years through to early reggae. This album is full of rare rocksteady gems.TRACK LISTING
1. Peter Austin &The Clarendonians With The Ernie Ranglin All Stars - I'm Sorry
2. Lloyd & The Groovers With Tommy McCook And The Supersonics - Listen To The Music
3. Tommy McCook & The Supersonics - Killer Joe
4. Devon And The Tartans - Making Love
5. Alva Lewis With Lynn Taitt And His Band - Return Home
6. Chuck Jaques & With Lynn Taitt And The Comets - Dial 609
7. The Uniques With Tommy McCook & The Supersonics - The Journey
8. The Kingstonians - Why Wipe The Smile From Your Face
9. The Clarendonians - I'll Never Try
10. Tommy McCook & The Supersonics - Smooth Sailing
11. The Kingstonians - Love Is The Greatest Science
12. The Clarendonians With The Aubrey Adams All Stars - Lonely Heartaches
13. The Cool Cats - Hold Your Love
14. The Uniques With The Caltone Studio Orchestra - Do Me Good
15. The Diplomats With Tommy McCook & The Supersonics - Going Along
16. Lloyd And The Groovers With Lynn Taitt & His Band - My Heart And Soul
17.Chuck Jaques & The Supersonics - Now That You've Gone
18. Eric 'Monty' Morris - Hear Them Say
19. Honey Boy Martin & The Voices With Tommy McCook And The Supersonics - Dreader Than Dread
20. King Rocky & The Willows With The Super Sonics - You Are The One
21. The Emotions With The Lynn Taitt Band - Gypsy
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
Welcome to the dub sound from Jamaica. The vocal records cut back to the bones of bass & drums, with the instruments and vocals faded in and out sometimes with echo and reverb to make a great new version! Although remembered as an early 70s phenomenom, the dubbed sound can be dated back as early as 1968. But by the mid-70s it became the norm for records to carry a version (dub) B-side and in fact many records were brought for this reason especially if they were known to come from the hands of the dub master himself King Tubby. So sit back and enjoy this dub excursion, many from the hands of King Tubby but all classics in their own right.
Welcome to the dub sound from Jamaica. The vocal records cut back to the bones of bass & drums, with the instruments and vocals faded in and out sometimes with echo and reverb to make a great new version! Although remembered as an early 70s phenomenom, the dubbed sound can be dated back as early as 1968. But by the mid-70s it became the norm for records to carry a version (dub) B-side and in fact many records were brought for this reason especially if they were known to come from the hands of the dub master himself King Tubby. So sit back and enjoy this dub excursion, many from the hands of King Tubby but all classics in their own right.
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
Welcome to the rocksteady sound from Jamaica. Towards the end of 1965, some say due to the energy-saping heatwave that was hitting the Island, the people that followed the sound system dances demanded a slower beat so they could still move and groove to at the all night musical affairs. So the jerky ska swing was slowed down to a steady beat that also allowed songs and vocalists to shine through. So sit back and enjoy the tunes that rocked JA between 1966-1968 - the rocksteady sound that hit the town.
Welcome to the rocksteady sound from Jamaica. Towards the end of 1965, some say due to the energy-saping heatwave that was hitting the Island, the people that followed the sound system dances demanded a slower beat so they could still move and groove to at the all night musical affairs. So the jerky ska swing was slowed down to a steady beat that also allowed songs and vocalists to shine through. So sit back and enjoy the tunes that rocked JA between 1966-1968 - the rocksteady sound that hit the town.
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
Part three brings us the roots reggae sound. A period in Jamaican music's history that followed the two year supremacy of rocksteady, which had beun to tail off around the end of 1968. The reggae sound did not come initially from the chop of the gui- tar but from the stabs from the keyboard / organ that produced that jeggae / jerking feel. The roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some roots reggae straight from the heart of Jamaica...
Part three brings us the roots reggae sound. A period in Jamaican music's history that followed the two year supremacy of rocksteady, which had beun to tail off around the end of 1968. The reggae sound did not come initially from the chop of the gui- tar but from the stabs from the keyboard / organ that produced that jeggae / jerking feel. The roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some roots reggae straight from the heart of Jamaica...
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
Welcome to the ska beat, the sound that came from Jamaica between 1961 and 1967. Based on the American R&B and doo-wop records that the sound systems in Kingston Town used to play. The American records style started to mellow out while the Jamaicans preferred a more upbeat sound. So to meet this demand the sound system bosses became record producers to cater for this demand. Sir Coxonne, Duke Reid lead the way by putting the top musicians on the Island in the studio to make this ska sound! Here for your enjoyment is a selection of some of the top tunes that made ska so great.
Welcome to the ska beat, the sound that came from Jamaica between 1961 and 1967. Based on the American R&B and doo-wop records that the sound systems in Kingston Town used to play. The American records style started to mellow out while the Jamaicans preferred a more upbeat sound. So to meet this demand the sound system bosses became record producers to cater for this demand. Sir Coxonne, Duke Reid lead the way by putting the top musicians on the Island in the studio to make this ska sound! Here for your enjoyment is a selection of some of the top tunes that made ska so great.
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning of the 1980s.The musical style again slowed the reggae beat down to give an uncluttered, sparse backdrop, allowing the singers and DJ’s more space to express themselves. Dancehall has never stopped but turned to a digital beat around the mid-80s. So Listen Up! to some early Dancehall classics that set the style for the years that followed.
Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning of the 1980s.The musical style again slowed the reggae beat down to give an uncluttered, sparse backdrop, allowing the singers and DJ’s more space to express themselves. Dancehall has never stopped but turned to a digital beat around the mid-80s. So Listen Up! to some early Dancehall classics that set the style for the years that followed.
To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!
The DJ phenomenon started way back in the ska era in the late 1950’s with the likes of Count Machuki and Sir Lord Comic who could be found shouting introductions to the big tunes of the day. This would grow to almost question and answer sessions over the original vocals. This Deejay jive talk so popular in the dancehalls and sound system gatherings transferred to vinyl and became another chapter in the evolving sound of reggae.
The DJ phenomenon started way back in the ska era in the late 1950’s with the likes of Count Machuki and Sir Lord Comic who could be found shouting introductions to the big tunes of the day. This would grow to almost question and answer sessions over the original vocals. This Deejay jive talk so popular in the dancehalls and sound system gatherings transferred to vinyl and became another chapter in the evolving sound of reggae.
By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture.
Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.
Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.
Various Artists
Little Richard: I Am Everything (Original Motion Picture Soundtrack)
Craft Recordings
LITTLE RICHARD: I AM EVERYTHING tells the story of the Black queer origins of rock n’ roll, exploding the whitewashed canon of American pop music to reveal the innovator – the originator – Richard Penniman. The soundtrack of the award-winning documentary includes timeless hits from Little Richard like “Tutti Frutti”, “Rip It Up”, and “Long Tall Sally”, plus two covers from Valerie June and Cory Henry, and a piece from the film’s original score, composed by Tamar-Kali Brown.
TRACK LISTING
Good Golly, Miss Molly – Little Richard
Strange Things Happening Every Day – Valerie June
Baby (demo) – Little Richard
I’m Just A Lonely Guy (all Alone) – Little Richard
Tutti Frutti – Little Richard And His Band
Long Tall Sally – Little Richard And His Band
Lucille – Little Richard And His Band
Bama Lama Bama Loo – Little Richard
Rip It Up – Little Richard And His Band
Ready Teddy – Little Richard And His Band
The Girl Can’t Help It – Little Richard And His Band
Send Me Some Lovin’ – Little Richard And His Band
Tutti Frutti – Cory Henry
Legacy – Tamar-kali Brown
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