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EMOTIONAL RESCUE

Emotional Rescue is honoured to reissue the benchmark in new age ambient music, Michael Stearns epic Planetary Unfolding album. Out of press on vinyl for over 30 years, here is Stearns masterful electronic symphony in 6 movements, recorded using his Serge modular synthesizer at the Continuum Studio in 1981.

The culmination of years of exploration in "space" music, Stearns journey, to the album's release, was one of learning and application. Involved in music since his teens, he graduated from guitar bands in the late 60s to an increasing interest in the principles of electronic music synthesis and the physics of musical instruments.

He moved from Tucson, Arizona to Los Angeles in 1975 where he performed live during movement meditation classes at the Continuum Studio. He released his first cassette album in 1977 before going on to record 7 albums during this formative period.

With Planetary Unfolding, the musical ideas that Michael performed on the Serge developed into this 52-minute masterpiece of music, six movements, three on each side of the LP. Based on the idea that the universe is made of sound held together through resonance, where atoms, cells, oceans, plants, animals and humans, all are part of a complex orchestration - the Earth as a being of sound.

Having first approached Michael in 2013, his uncertain response that the album could be rereleased in a way that the music would be given justice via vinyl, the idea was never forgotten. Gaining discovery, appraisal and prominence when "As The Earth Kissed The Moon" appeared in edited form on the "I Am The Centre" box set from Light In The Attic, this excellent window into the world of Private issue new age music, superbly compiled by Douglas McGowan, further increased the interest in Michael's and others, such as Laraaji, music.

With the likes of Matthewdavid's Leaving Records and Jonny Nash's Melody As Truth pushing the ambient curve beyond a post club, chill out fad, classic albums can rightly sit alongside this 'new age of the new age', so that ambient music again has a gravity and place of it's own.

This specially re-mastered version by Bob Ohllson features the original artwork by Leilani Bost, liner notes by long-term friend and fellow musician, Gary David, as well as the photography of Ron Peterson, together bringing this wonderful album to life once again. 

The wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this reissue of his classic 1987 album, Neptuno.

Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.

Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days.

Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.

Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.

Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

Emotional Rescue returns to the Caribbean with the music of Glen Ricks and his infectious Jamaica meets Boogie goldmine that is I've Been Waiting For You.

A performer since the age of 7, Glen Ricks (born Ricketts), established a reputation for his singing range and ability to seamlessly shift from tenor to soprano, going on to sell over a million records around the world.

Having immigrated to Canada as a child, after teaming up with his first band The Fabulous Flames Ricks returned to Jamaica to create his first records. Moving effortlessly from reggae to lovers, and dancehall to soul, R&B, disco and boogie, Ricks established a successful career and he continues to perform to this day.

I've Been Waiting For You is indicative of that cross-pollination of style and sound. Released on 7" in 1983 on the short lived Seraff label, the mix of Ricks' soul voice with laid back boogie groove creates a sound full of lazy JA swing.

Now highly sought after, this special 12" reissue includes the stand out vocal and is backed with an instrumental that builds on the interplay between bass, drums, piano, guitar, keys and finally, backing vocals. To seal the deal - and in true label style - LA's rising star DJ Duckcomb presents the perfect Discomix, seamlessly cutting between both versions with some respectful dubbing in the mix.

Emotional Rescue again delves in the world of private pressings, with a reissue of British electronic pop meets proto-House duo 4AM. With copies of their self titled album now highly sought after, this timely reissue presents two of their songs as a stand alone 7".

Consisting of multi-instrumentalist Steve Kirby - piano, guitar, bass, programming - and vocalist Kevin Finch, 4AM came together after youths filled with a love of music. Following a string of band attempts, Steve dived in to the world of midi, allowing him to build a studio set up and play solo. A meeting with new work colleague Kevin quickly developed to joining forces to expand on his early demos.

Their melodic, dance-influenced pop draws on a love of Japan, OMD and The The, but also ECM jazz and a touch of "white boy soul". The TR-808 drum and hi-hats, string stabs and random acid squelches - although no TR-303 was used - highlights the influence the nascent House sounds emanating from the "second summer of love" of 1988 / 89 had in their music melting pot.

Over this, personal lyrics flow, full of honest emotions and a touch of youthful naivety thrown in - of relationships, love, sex and passions. Intended as a personal artifact, the original album was released in 1990 with no promotion or live shows and has taken until now, some 30 years, to find a cult audience. I want you with a Passion.

Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

Taking the tradition of Jamaican music to utilise the same rhythm tracks for infinitum, here, as an accompanying release to the boogie version of I've Been Waiting For You (ERC081), is a twist on that ideal, not using the riddim but an actual remake of the song, with a digital reggae cover of Glen Ricks' classic.

Released some 8 years after the Seraff Records single in 1991, the re-titled I Have Been Waiting saw Ricks team up with dancehall legend Philip "Fatis" Burrell and his Xterminator label.

Starting with the Kings & Lions label to release the likes of Sugar Minot and Tenor Saw, Burrell soon launched the Vena (1985) and then Exterminator (1988) - later Xterminator - labels as vehicles to the rising dancehalls stars, to much acclaim.

This limited 10" release showcases perfect digital re-versions, using Ricks' soulful vocals across a simple bells and horns topped "casio" riddim. The transference comes in traditional vocal and version, so who better to craft a special extended "digimix" than returning to the 'cut'n'paste' skills of DJ Duckcomb. Again he steps up, mixing seamlessly between originals, adding desk dubbing when required and bringing a new flavour to Emotional Rescue.

Be With Records and Emotional Rescue team up to present a special release of US jazz vocal group Rare Silk and their cult song, Storm. A diggers cut for many years, more recently it's become an algorithm "hit". Presented here as a stand-alone limited 10" release, the song is backed by a spellbinding echo-drenched remix by New York's exemplary electronic sonic explorer, Arp. Originally formed when sisters MaryLynn and Gaile Gillaspie met Marquerite Juenemann in southern California in the late '70s, with the arrival of Teddy Buffa the trio quickly expanded to a four-part harmony vocal group. Signed to Polydor, they rose to prominence over the ensuing decade with the release of three albums that gained them multiple Grammy nominations. Taken from their 1985 album American Eyes, Storm is based on a Stanley Turrentine song of the same name, from his 1971 album Salt Song. With additional vocals written by MaryLynn, as with much of their music -underpinned as it is by an otherworldly exotica - the artisanal, crafted care of the instrumental and vocal arrangements, featuring lush, rich phrasing, is evident in their exquisite reading of the song. When deciding how best of present the song it seemed right to ask a favourite of both labels. Having appeared on Emotional Response in 2017/18, Alexis Georgopoulos returned to his Arp project with last years' much-heralded Zebra album on Mexican Summer. Stripping out the vocals, the remaining instrumental is rearranged, rebuilt and then soaked in heavy tape echo. The result is a discerning dub to act as the perfect accompaniment.

Emotional Rescue is delighted to reissue for the first time, the legendary Ernest Ranglin teaming up with Noel Williams aka King Sporty, on this 1983 meeting of reggae guitar legend and Miami disco boogie don that resulted in this highly sought after 6 track mini-LP.

A defining guitarist and composer in the development of Jamaican music, Ranglin leads little introduction. In a career spanning over 50 years, he was involved in the move from mento and calypso to ska and on to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Prince Buster, Jimmy Cliff and Bob Marley.

Born in 1932 in Manchester, West Jamaica before moving to Kingston, Ranglin's self-taught chordal and rhythmic approach blended jazz, mento and reggae with percussive guitar solos. On moving to Florida in 1982, he teamed up with scene king, Williams to present 'a new style', mixing the bass heavy boogie disco the producer was famous for with Ranglin's unique playing.

Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, the rearranged order starts here with Soft Touch. A retake of Thomas' TK Disco (and Cosmic) classic Africano, before a skanking remake of the William's standard, Keep On Dancing and title bomber Be What You Want Be, crown the match of reggae and vocal disco. Also, included is a beautiful take on Anthony Hester's R&B classic, In The Rain, while the record closes with the choice Papa "Doo" and jammer Why Not.

Singer, songwriter, composer and multi-instrumentalist, Desmond Coke's supremely rare, privately pressed, lo-fi, synth-soul fusion, Let's Chase The Sun is represented here in edited form. Painstakingly remastered from the original tapes, this self taught pianist, drummer and sax player condensed his musical experiences and dreams in to an opus on love and togetherness.

Desmond Coke alias 'Fatfingers' - named by fellow musicians due to improvisation and interpretation skills - began playing keyboards by ear at 15 and went on to a music career playing with the likes of Alton Ellis, Prince Fari, Barrington Levy, Dillinger, Don Cherry and Shara Nelson, as well as a gamut of the On-U Sound label's projects, including Creation Rebel, Dub Syndicate, Singers & Players and Mark Stewart + Maffia.

With an interest in reggae, dub, jazz, soul, meringue, gospel and garage, his sole album was a true fusion to create a brand new sound. Composed, arranged and produced by Coke, he worked with an array of seasoned musicians, including his own sisters Winifred (percussion / vocals) and Paulette Coke (percussion / DX-7 & M1 synthesisers).

Pressed on his own Saterlite Entertainments in 1989, Coke describes the album's purpose, "to get the message across to have focus, ambition, to dream and 'chase the sun'. That relationships are important, 'I need somebody' and naturally the chemistry is 'you and me'. Great relationships are about friendships and that it's ok to 'mesmerise a friend'. The most natural thing is to enjoy each other's company and to 'make a love child'. These good intentions and meanings, where love is the key." Some thirty years later Desmond's thoughts are as resonant today as then - Let's Chase The Sun.

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output. Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play. After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play. This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end. The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark. To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

Hot on the heels of their Hawkwind reissue, Emotional Rescue continue their vague reish/rework series this week by turning their attention to London's synthpop, new wave and bedroom pop prince Thomas Leer.
Signing to Cherry Red in the early 80s, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with "Saving Grace" from the latter, a long famous Cosmic classic, its mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.
This is backed with "Tight As A Drum", a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.
Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

STAFF COMMENTS

Patrick says: I effin love Thomas Leer, so I was delighted when I saw this one in the pipeline. "Saving Grace" is a total cosmic classic, all A-grade synth chug and soaring pads, while "Tight As A Drum" is a crazy, kosmische inspired gem perfect for late in the session. Reinterpreted here by modern day maverick Bullion as well as in their original form, the tracks sound every bit as vital as ever.

Emotional Rescue deliver the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors.
"Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.
"I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

Emotional Rescue offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots.
The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of "Le Reveil" from the 1981 follow up, "Au Soleil", her early works are characterised by band, orchestra and choirs complimenting her voice as one.
This is further heard on the mystical "Sorciere", through the psychpercussion of "Secret", the marching "Le Guerrier" and the inclusion her first "hit" with "Aurore", appearing here in all its extended, off-kilter guitar meets organ form.

Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's "Le Long De Fleuve Amour" and the following 1989 opus, in "Kiroel".

"L'Amour Pour Bouclier" and "Ne Doute Pas" lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric "Douleur", while the emotionally charged soundscape of "Kiroel" brings balance.

Inspired by the purity of song, Kibaro's music's has a timeless essence to behold; a voice and words found through life experience - beauty, discovery, nature and dreams.
A love and hope in music, her quest for the infinite potential in song.

Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition. 
Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli, the short-lived project released just one album of new wave pop rock before going their separate ways. It was their non album contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic.
Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of its time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation.
Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.
This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.
Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

STAFF COMMENTS

Patrick says: Unholy shit! This high drama, super stomping 80s Italian flip on the Talking Heads classic is a total killer! Moody bells, doomy synths and spiky guitars create a little basement intensity before that singalong chorus has you punching the air. Props to Oscillator duo Double Wave for their killer club arrangement.

Emotional Rescue returns to the music of Takenoko, the Bordeaux based synth-pop project from 1982-1988, to follow their LP collection L'Amour Est Mon Arme (ERC062), with an EP of remixes from Dresden's cult-like producer, Sneaker DJ.

The meeting of Takenoko and Sneaker offers a perfect marriage of left field cold wave tones, inventive drum programming and pop lyrics, with a master-mixer, programmer and DJ of today.

Following releases on cult labels like Uncanny Valley, Rat Life and Frigio as Sneaker and numerous labels such as Macadam Mambo, Bordello A Parigi and Bahnsteig 23 under several pseudonyms, Sneaker first contacted the label after his trance-inducing, drum heavy remix of C Cat Trance , with the suggestion to research an idea to create a reissue / remix project out of a band he had discovered, Takenoko.

This was soon expanded to become a stand-alone album and remixes EP after the discovery in the vaults of a cache of unreleased songs. The breadth of styles found on L'Amour Est Mon Arme is matched with these "Mixes", as Sneaker takes 3 of their singles and indelibly puts his marker on them.

Starting with his retake of their second single, Lee Harvey Oswald, he reworks their pop ode to the Kennedy tragedy and strips it groove back for a near 9 minute vocal-meets-discodub that lets the lyrical structure remain, before stretching it out and letting the instrumental interplay between keys, guitar and rhythm machines glide before bringing it all back for finale.

Next, their 1988 single Trans Amor Express is given what is becoming a trademark Sneaker treatment. In a similar vain to his remix of C Cat Trance, here he rips the original apart to extend a single vocal refrain with the raw percussion elements for mind-inducing results.

Finally, his mix of the anthemic John Wayne is almost gentle in comparison, adding 909 overdubs but letting much of the original stay, showing again a modern mastery of mixing desk technique and craft.


STAFF COMMENTS

Patrick says: Strong eye shadow / blurred neon vibes here as Sneaker feeds Takenoko to the machines, ripping through the cold wave / disco-not originals and twisting them into new versions for the floor. Goth glam stompers maybe...

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

STAFF COMMENTS

Patrick says: Divine dreamy electronics here, Emotionally Rescued from 1989. These two rare cuts combine all the best bits of Cosmic, Balearic and New Age into the kind of ethereal dance music you got from Dancing Fantasy or “Rainforest” era Hardcastle.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl. Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore.

Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born. Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration. It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!.

Carl Weingarten / Walter Whitney

Dreaming In Colors

Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors.
With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing.
While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions.
Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band.
Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay.
This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. 

Emotional Rescue returns with the third album in a series based around the music of Luis Delgado and Javier Bergia. After a collecton of Javier's best music and the reissue of their Ishinohana collaboration, the reissue specialists present Delgado's solo debut, "Vathek". The second release on his El Cometa De Madrid label after Ishinohana, the LP is an avant-garde step forward from that collaboration, their work in Finas Africae and also, his previous Mecanica Popular project. In a sense, Delgado is the link that brings many of the country's music of that period together. As a multi-instrumentalist he played his first concert at 14 before becoming an in-house engineer for RCA, a position which led to Mecanica Popular with fellow engineer Eugenio MuNoz (Randomize) and the following projects.
The colder electronics of that project belie Delgado's Andulusian Folk/Rock and Ethnic Fusion compulsion, as came to prominence with Luis Paniagua in their Babia releases and via the later success of Finas Africae. In "Vathek", Delgado pushes beyond these projects to utilise the studio and explore his interest in Eastern music. Subtitled "Procesos Electronicos Para Instrumentos Acusticos," the premise was that even with all the machines, the knowledge to use them is not realised and therefore, the goal was to go deeper within these processes to create an new encompassing sound.
The ten pieces should, therefore, be seen in this exploration, yielding a deepness not associated with this golden period of Spanish music. A truly experimental album that is meditative and mesmorising; a mastery of instrument, studio and thought.
As with Javier Bergia's 'Eclipse' and Ishinohana before it, Vathek comes with wonderful hand-illustrated artwork by Finn Campbell-Notman, from his studio in the Andulusian foothills.

A project bringing together Javier Bergia and friends Luis Delgado and Manuel Illan, Ishinohana sees these masters mesh the inflences of rock, new age and Eastern percussion in to a cohesive whole. With a nod to the influence of Pat Metheny throughout, "Le Flor De Piedra" is removed from their works in Finas Africae or as solo artists, allowing each to flourish in their craft with the framework of a group setting. Delgado is prominent. His guitar playing ties the album together and his production looks as much to the albums of 70s and early 80s America than to Japan, where the background for the album is set.
While new age and jazz fusion are oft considered areas to avoid, it's actually the more discerning ear that realises these genres are some of the deepest and most free forms of musical expression. The passion within "Le Flor De Piedra" displays as such. To not stop, listen and understand songs like "Delta" and "Lucia" and their ethereal approach would be a travesty. The reissue of such a cult album is something worth more than that.



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