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CHARLIE CHARLIE
Charlie Ingui a veteran blued eyed soul singer who formed the band The Soul Survivors In the 60's is back with a brand new single.
'Wake Up Old World' is a song about making the world a better place.
Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philadelphia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'
In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.
They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.
Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.
They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philadelphia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass.
'Wake Up Old World' is a song about making the world a better place.
Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philadelphia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'
In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.
They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.
Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.
They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philadelphia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass.
TRACK LISTING
1. Wake Up Old World
2. Movin' In Love's Direction'
While the 1953 Bud Shank/Laurindo Almeida recordings were the precursors of the bossa nova-jazz fusion, the 1962 Stan Getz/Charlie Byrd LP "Jazz Samba" , produced by Creed Taylor, started an international craze for bossa nova and is, universally, considered a true classic
Producers were quick to exploit the Bossa Nova craze in the first half of the '60s and many famous jazzmen at that time recorded albums that were, wholly or partially, made up of songs from the genre. Though the craze may have waned a little since those early years, bossa nova remains a vehicle of inspiration for many of today's musicians.
Producers were quick to exploit the Bossa Nova craze in the first half of the '60s and many famous jazzmen at that time recorded albums that were, wholly or partially, made up of songs from the genre. Though the craze may have waned a little since those early years, bossa nova remains a vehicle of inspiration for many of today's musicians.
TRACK LISTING
Desafinado
Samba Dees Days
O Pato (The Duck)
Samba Triste
O Pato (The Duck) [Charlie Byrd Version]
Samba De Uma Nota So (One Note Samba)
E Luxo So
Baia
Samba De Uma Nota So (One Note Samba) [Big Band Version]
Recording made on January 20, 1963 in New York with personal and socially relevant content entitled "The Black Saint and The Sinner Lady".
All the songs on the session, from the initial "Solo Dancer" to the "Group and Solo Dance" which closes the album, express Mingus's philosophy of life and his opinions on love and the world.
This release is part of the New Ermitage collection available from January 2024: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.
All the songs on the session, from the initial "Solo Dancer" to the "Group and Solo Dance" which closes the album, express Mingus's philosophy of life and his opinions on love and the world.
This release is part of the New Ermitage collection available from January 2024: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.
TRACK LISTING
1. Solo Dancer (Stop! Look! And Listen, Sinner Jim Whitney!)
2. Duet Solo Dancers (Heart's Beat And Shades In Physical Embraces)
3. Group Dancers (Soul Fusion) Freewoman And Oh, This Freedom's Slave Cries)
4. Trio And Group Dancers (Stop! Look! And Sing Songs Of Revolutions!)
5. Single Solos And Group Dance (Saint And Sinner Join In Merriment On Battle Front)
6. Group And Solo Dance (Of Love, Pain, And Passioned Revolt, Then Farewell, My Beloved, 'Til It's
Freedom Day)
Provocative post-punk from Israel’s undercover goth prince. Megira’s lone album with the Modern Dance Club showcased a grimier, more driving vision of his brand of trashy no wave. Spread across 31 tracks and two LPs, Love Police schizophrenically mixes industrial soundscapes, surf ditties, hardcore, swamp pop, bubble grunge, screaming, ecstasy, and enough fuzz to warrant a needle check.
TRACK LISTING
SIDE A
1. The Return Of The Russian Frogmen That Died And Came Back To Life As
Strange Looking Radioactive Creatures
2. Sababa One
3. Rhythm Of Hate
4. At The Elvis Inn
5. No Wave Exercise
6. Existence
7. The Wall Of Death
8. U.S.F.
SIDE B
9. And Now I Wanna Drown In Your Dark Dreamy Eyes
10. Boo
11. Beach Bums Must Die
12. The Strange And Bizarre Tale Of The Boy Who Had One Testicle Too Many
13. 333
14. (Used To Be...) Psychic Youth
15. Elvis Is Not Dead
16. Smack Dab
SIDE C
17. Beneath The Underground
18. Valley Of Tears
19. Mao/Mao
20. Here Comes Your Mama
21. Ode To A Cocksucker
22. Homesless Body
23. Sababa?
SIDE D
24. Freak Junior
25. Psychic Youth-2
26. Another No Wave Exercise
27. Street Machine
28. Da Homogreaser Stomp
29. All Tuned Up And Ready To Go
30. Je Ne Parle Pas Francais
31. Dead Girl Blues
All the greatest songs from one of Jazz finest artists.
TRACK LISTING
A1. Summertime
A2. All The Things You Are
A3. I'll Always Love You Just The Same
A4. Everything Happens To Me
A5. April In Paris
A6. Parker's Mood
A7. Cool Blues
B1. Ornithology
B2. A Night In Tunisia
B3. Ko Ko
B4. Donna Lee
B5. Scrapple From The Apple
B6. La Cucuracha
B7. Confirmation
Charlie Parker
Afro Cuban Bop: The Long Lost Bird Live Recordings (RSD23 EDITION)
Liberation Hall/Rockbeat
THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.
IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).
This vinyl debut captures one of the biggest names in jazz, at the peak of his powers, live in concert
This 180-gram double set features 18 selections from Charlie Parker, one of jazz's greatest saxophonists. All the recordings were captured in the late 1940s and early '50s at such storied venues as Carnegie Hall and Birdland in New York, The Jubilee in Los Angeles, and the Portland Civic Auditorium. Focused on experiments in Afro-Cuban fusion, Parker is joined by a dazzling array of jazz legends including Dizzy Gillespie, Milt Jackson, Art Blakey, Woody Herman, Stan Kenton, Red Rodney, and others. The track listing matches the cast of musicians; classics 'Cherokee' and 'A Night in Tunisia' are captured in pristine form, while maintaining the intimate jazz spontaneity of Parker's best recordings. The package includes an essay by rock keyboardist Keith Emerson. While these tracks have previously appeared on other albums, this is the first time they have been gathered in this package on double 180-gram vinyl.
IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).
This vinyl debut captures one of the biggest names in jazz, at the peak of his powers, live in concert
This 180-gram double set features 18 selections from Charlie Parker, one of jazz's greatest saxophonists. All the recordings were captured in the late 1940s and early '50s at such storied venues as Carnegie Hall and Birdland in New York, The Jubilee in Los Angeles, and the Portland Civic Auditorium. Focused on experiments in Afro-Cuban fusion, Parker is joined by a dazzling array of jazz legends including Dizzy Gillespie, Milt Jackson, Art Blakey, Woody Herman, Stan Kenton, Red Rodney, and others. The track listing matches the cast of musicians; classics 'Cherokee' and 'A Night in Tunisia' are captured in pristine form, while maintaining the intimate jazz spontaneity of Parker's best recordings. The package includes an essay by rock keyboardist Keith Emerson. While these tracks have previously appeared on other albums, this is the first time they have been gathered in this package on double 180-gram vinyl.
On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic , Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo- fi lo-rider masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive. Hear our 2 favorite cuts in back- saving, crate-flavoring 7” format ripe and ready the dive bar soundsystem hosting your favorite BYOV night.
In 2006, Israeli garage-nik Charlie Megira took a sonic turn while partnered with Israeli multi- instrumentalist Michal Kahan. The duo wasted no time forging a new path, swapping Megira’s trademark reverb for echo, and guitar-noir for new wave. Charlie Megira Und the Hefker Girl is an unabashed continuation of gothy ’80s archetypes employed by Joy Division, JAMC, and The Cure. Originally self-released on CD-R, we’ve remastered the 12-track disc for maximum Crosley crush.
TRACK LISTING
SIDE A
1. Till I’ll Break Again
2. Nothing
3. Fear And Joy
4. Kiss Of Death
5. Direct Exercise No. 1
SIDE B
6. Psyche And Apollo
7. The Vally Of Tears (Drum Pattern)
8. Thrown Key
9. Song No.8
10. Saturn Return
11. Another God
12. Tower Of Tongues
With such iconic tracks as “Christmas Time is Here” and the instantly recognizable “Linus and Lucy”, the Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas shares the title of best-selling jazz album in history, and was certified 4x Platinum by the RIAA in late 2016.
TRACK LISTING
Side 1
1. O Tannenbaum
2. What Child Is This
3. My Little Drum
4. Linus & Lucy
5. Christmas Time Is Here (instrumental)
Side 2
1. Christmas Time Is Here (vocal)
2. Skating
3. Hark, The Herald Angels Sing
4. Christmas Is Coming
5. Für Elise
6. The Christmas Song
Deluxe Editions Bonus Tracks:
O Tannenbaum (Take 2/Recorded September 21, 1965)
O Tannenbaum (Take 3/Recorded September 21, 1965)
Greensleeves (Take 6/Recorded October 28, 1965)
Linus And Lucy (Take 1/Recorded September 17, 1965)
Christmas Time Is Here (Take 1/Recorded September 17, 1965)
Christmas Time Is Here (Vocal) (Rehearsal/Recording Date Unknown)
Christmas Time Is Here (Take 4/Recording Date Unknown)
Skating (Take 1/Recorded September 22, 1965)
Jingle Bells (Takes 1–4/Recorded September 21, 1965)
Christmas Is Coming (Take 3/Recorded September 17, 1965)
Christmas Is Coming (Take 3/Recorded September 21, 1965)
Für Elise (Takes 1–2/Recording Date Unknown)
The Christmas Song (Take 8/Recorded October 28, 1965)
“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, “I never did anything in my life but play music. I’ve been blessed with that gift that God gave me, and I’ve tried to nurse it the best way I knew how.” While he’s faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter’s passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he’s also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader.
Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That’s It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. “We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Charlie says, further musing, “Musical conversations cancel out complications.” 89 includes six standards and three newer pieces on which Gabriel is a writer: “Yellow Moon,” “The Darker It Gets” and “I Get Jealous.” The record also marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.”
Finally, 89 includes three tracks of Charlie singing. “I always sung, but it wasn’t my forte to become a singer,” he says. “The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.”
That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he’s also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader.
Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That’s It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. “We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Charlie says, further musing, “Musical conversations cancel out complications.” 89 includes six standards and three newer pieces on which Gabriel is a writer: “Yellow Moon,” “The Darker It Gets” and “I Get Jealous.” The record also marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.”
Finally, 89 includes three tracks of Charlie singing. “I always sung, but it wasn’t my forte to become a singer,” he says. “The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.”
TRACK LISTING
Memories Of You
Chelsea Bridge
I'm Confessin'
The Darker It Gets
Stardust
Three Little Words
Yellow Moon
I Get Jealous
Here’s a superb new album on Polytechnic Youth, the last of the label’s trio of recent CD releases, aimed partly at circumnavigating the crazy world of vinyl pressing just now. The third here is an absolute beauty- by a country mile the label’s most bonkers, whacked out release, sample heavy, dancefloor friendly and all interspersed with voiceovers / track intros from Charlie Pellett of NY subway system announcement fame!
17 tracks, clocking in at over an hour (the CD’s biggest saving grace?) including a bunch of extras not included on PY’s mailorder LP edition from a couple of years back that sold out same day and is now a £30+ record. This is a nice opportunity to hear the album in full and is released as a one time pressing of 500.
“Formed in 2018, the London based duo fuse breakbeats, synths and samples to create eccentric alternative dance music, twisting and bending sounds into their own distinctive style using a vast collection of vinyl 45s. Their endlessly intriguing world has already drawn comparisons to the likes of DJ Shadow and Death In Vegas. With a backbone of funk and soul they blend together many different genres including ambient, trip-hop, dance, disco and more, creating a new form of sample-heavy, dancefloor-friendly electronica. ‘Journey Of Echoes’ is exactly this: a fusion of analogue grit, psychedelic colour and a mass of ramshackle ideas, and in a world where it's almost criminal to be joyous and inventive this is the soundtrack of a rebellion!”
17 tracks, clocking in at over an hour (the CD’s biggest saving grace?) including a bunch of extras not included on PY’s mailorder LP edition from a couple of years back that sold out same day and is now a £30+ record. This is a nice opportunity to hear the album in full and is released as a one time pressing of 500.
“Formed in 2018, the London based duo fuse breakbeats, synths and samples to create eccentric alternative dance music, twisting and bending sounds into their own distinctive style using a vast collection of vinyl 45s. Their endlessly intriguing world has already drawn comparisons to the likes of DJ Shadow and Death In Vegas. With a backbone of funk and soul they blend together many different genres including ambient, trip-hop, dance, disco and more, creating a new form of sample-heavy, dancefloor-friendly electronica. ‘Journey Of Echoes’ is exactly this: a fusion of analogue grit, psychedelic colour and a mass of ramshackle ideas, and in a world where it's almost criminal to be joyous and inventive this is the soundtrack of a rebellion!”
Born in 1999, Charlie Hickey grew up in South Pasadena, just minutes from Downtown Los Angeles. Raised by two singer-songwriter parents, Charlie’s second language was music since day one. As early as grade school, he was making sense of the world through songwriting, and by middle school he was writing, recording and performing songs that attracted a community of collaborators and could silence a room.
A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time.
Charlie Hickey’s first proper single is “No Good At Lying.” The Marshall Voreproduced track introduces us to Charlie’s evocative storytelling and features Phoebe Bridgers on backing vocals. “I’m no good at lying / on my back or through my teeth / but I’m good at dreaming / I can do it in my sleep,” he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It’s a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what’s to come
A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time.
Charlie Hickey’s first proper single is “No Good At Lying.” The Marshall Voreproduced track introduces us to Charlie’s evocative storytelling and features Phoebe Bridgers on backing vocals. “I’m no good at lying / on my back or through my teeth / but I’m good at dreaming / I can do it in my sleep,” he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It’s a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what’s to come
TRACK LISTING
SIDE A:
1. No Good At Lying
2. Count The Stairs
3. Two Haunted Houses
SIDE B:
4. Seeing Things
5. Ten Feet Tall
6. Notre Dame
The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience!
Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos.
Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos.
TRACK LISTING
A1. Charly
A2. Nothing Here But You & Me
A3. Say It's Gold
A4. Save Us (feat Mapei)
A5. Venice Chocolate
B1. Hill St
B2. Frosty (feat Julimar Santos)
B3. New Hall
B4. Lorena (feat Mapei)
B5. Run
‘Charlie Parr’ is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/ audience favorites from throughout Parr’s career.
Recorded at Pachyderm Studio in Canon Falls, MN, ‘Charlie Parr’ features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica.
The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. ‘Charlie Parr’ is a stunning folk record that will surely stand the test of time, just like the man himself.
“Parr is a folk artist for the new American Dust Bowl, a resonator-ready troubadour armed with a well-worn satchel of troubled tales that cut to the heart of a nation mired in fear and in dire need of a roots-music revival.” - Acoustic Guitar
“Charlie Parr has made his career hollering, picking, and stomping his way through the Midwest and beyond, leaving a trail of fine records that feel just a shade away from the great rural folk and blues songs of Harry Smith’s epic Anthology of American Folk Music.” - AllMusic
Recorded at Pachyderm Studio in Canon Falls, MN, ‘Charlie Parr’ features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica.
The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. ‘Charlie Parr’ is a stunning folk record that will surely stand the test of time, just like the man himself.
“Parr is a folk artist for the new American Dust Bowl, a resonator-ready troubadour armed with a well-worn satchel of troubled tales that cut to the heart of a nation mired in fear and in dire need of a roots-music revival.” - Acoustic Guitar
“Charlie Parr has made his career hollering, picking, and stomping his way through the Midwest and beyond, leaving a trail of fine records that feel just a shade away from the great rural folk and blues songs of Harry Smith’s epic Anthology of American Folk Music.” - AllMusic
TRACK LISTING
Love Is An Unraveling Bird’s Nest
To A Scrapyard Bus Stop
On Stealing A Sailboat
Asa Jone’s Blues
Running Jumping Standing Still
Mag Wheels
Annie / Heavy
Twenty-Five Forty-One
Jubilee
Cheap Wine
Sorcerer Records is proud to announce the first ever vinyl edition of this long-out-ofprint classic from 1995, originally released on CD by the Dog Meat label. Tendrils sees Joel (Hoss, GOD, Melonman, Dark Horses, etc.) and Charlie (New Christs, Beasts Of Bourbon, Tex, Don & Charlie) engaging in a series of intimate, loose and downbeat folky duets.
With sonic similarities to the likes of Richard Thompson (there’s a mind-melting cover of his “Night Comes In” track here, too) and John Martyn, as well as more contemporary troubadours such as Ben Chasny (Six Organs Of Admittance) and Steve Gunn, Tendrils often feels like it’s on the verge of musical collapse, but pulls itself together with delicate and intricate guitar work, gentle vocals and occasional percussion lending it a steady pulse.
The duo released one more CD, this one under the Tendrils moniker, in 1998 on the Half A Cow label, before parting ways. We think this is a very special release which deserves a new appreciation and a 21st-century audience. Both Joel and Charlie are still very active in music (Joel’s other band, Hoss, will be releasing their first album in 20 years on Sorcerer in 2018), but with Tendrils you get to hear the magic they made together circa 1995. This edition comes newly remastered by Mikey Young with fresh artwork design from Luke Fraser and is limited to 500 copies worldwide.
With sonic similarities to the likes of Richard Thompson (there’s a mind-melting cover of his “Night Comes In” track here, too) and John Martyn, as well as more contemporary troubadours such as Ben Chasny (Six Organs Of Admittance) and Steve Gunn, Tendrils often feels like it’s on the verge of musical collapse, but pulls itself together with delicate and intricate guitar work, gentle vocals and occasional percussion lending it a steady pulse.
The duo released one more CD, this one under the Tendrils moniker, in 1998 on the Half A Cow label, before parting ways. We think this is a very special release which deserves a new appreciation and a 21st-century audience. Both Joel and Charlie are still very active in music (Joel’s other band, Hoss, will be releasing their first album in 20 years on Sorcerer in 2018), but with Tendrils you get to hear the magic they made together circa 1995. This edition comes newly remastered by Mikey Young with fresh artwork design from Luke Fraser and is limited to 500 copies worldwide.
Charlie Hilton, known up until now for her work in the band Blouse, has now forged a new identity with her debut solo album, ‘Palana’.
It should come as no surprise that many of the songs on ‘Palana’ are concerned with shifting characters, forms and ideas. The album’s title itself is a nod to Hilton’s given Sanskrit name, an identity she shed completely after high school in favour of the androgynous ‘Charlie’ and Palana’s overarching theme can be summed up by a quote from Hermen Hesse’s Steppenwolf, a phrase Hilton cites as a personal mantra: “Man is not by any means of fixed and enduring form… he is much more an experiment and a transition”
Enlisting Unknown Mortal Orchestra’s Jacob Portrait as producer, Hilton freely experimented with diverse sounds and moods - some minimal and some cacophonous - out of the confines of a band structure. ‘Funny Anyway’ is truly stark, featuring only string accompaniments, with Hilton assuming a role akin to a confessional French chanteuse, while ‘Let’s Go To A Party’ is Hilton’s cheeky take on an icy dance track with thick, bouncing synths and a chorus that echoes “I’m only happy when I’m dancing.” Alternatively, tracks like ‘Pony’ harken back to the psychedelic strengths of Blouse, saluting bands like Broadcast and United States Of America and then there’s ‘100 Million’, the sole track produced by Woods’ Jarvis Taveniere that rounds out the album in a soft, acoustic and light-hearted way with labelmate Mac DeMarco lending his talents on percussion and back-up vocals.
This wide range of moods on ‘Palana’ recall several of Hilton’s key influences - the solemn beauty of Nico, the whimsical nature of Marc Bolan and the naïveté of Jonathan Richman - but the album is undeniably the work of one artist, perhaps best summed up by the artist herself: “The music on this record is diverse, but so is the inside of a person. I feel like I’m many people.”
It should come as no surprise that many of the songs on ‘Palana’ are concerned with shifting characters, forms and ideas. The album’s title itself is a nod to Hilton’s given Sanskrit name, an identity she shed completely after high school in favour of the androgynous ‘Charlie’ and Palana’s overarching theme can be summed up by a quote from Hermen Hesse’s Steppenwolf, a phrase Hilton cites as a personal mantra: “Man is not by any means of fixed and enduring form… he is much more an experiment and a transition”
Enlisting Unknown Mortal Orchestra’s Jacob Portrait as producer, Hilton freely experimented with diverse sounds and moods - some minimal and some cacophonous - out of the confines of a band structure. ‘Funny Anyway’ is truly stark, featuring only string accompaniments, with Hilton assuming a role akin to a confessional French chanteuse, while ‘Let’s Go To A Party’ is Hilton’s cheeky take on an icy dance track with thick, bouncing synths and a chorus that echoes “I’m only happy when I’m dancing.” Alternatively, tracks like ‘Pony’ harken back to the psychedelic strengths of Blouse, saluting bands like Broadcast and United States Of America and then there’s ‘100 Million’, the sole track produced by Woods’ Jarvis Taveniere that rounds out the album in a soft, acoustic and light-hearted way with labelmate Mac DeMarco lending his talents on percussion and back-up vocals.
This wide range of moods on ‘Palana’ recall several of Hilton’s key influences - the solemn beauty of Nico, the whimsical nature of Marc Bolan and the naïveté of Jonathan Richman - but the album is undeniably the work of one artist, perhaps best summed up by the artist herself: “The music on this record is diverse, but so is the inside of a person. I feel like I’m many people.”
STAFF COMMENTS
Andy says: A very good record that's hard to pin down, as it mixes lots of styles from krautrock grooves, dream-pop floatiness, psych and library sounds, blending the electronic with the organic in such a clever way. Stereolab fans will love this.TRACK LISTING
Palana
Something For Us All
Pony
Long Goodbye
Funny Anyway
WHY
Let’s Go To A Party
Snow
The Young
No One Will
100 Million
Saxophonist supreme Charlie Mariano returns to his roots with a decidedly dreamy and romantic set of rarely performed standards. His alto coupled with pianist Bob Degan has a feel of the Coltrane / Tyner partnership on John Coltrane's "Ballads" album and this is a virtuoso performance infused with feeling. It's quite simply one of the finest sessions from his long an illustrious career. Slip it onto the player in the wee small hours and feel that cool plaintive vibe.