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INVISIBLE CITY EDITIONS

Those scholarly diggers at Invisible City Editions make their first foray into the world of the long player with this beautifully put together reissue of Witch's most diverse record. 'Movin' On' was released after the Zamrock heyday, when the music of 80s Zambia came to be influenced by disco and rhumba from neighboring Congo. Bands that didn’t adapt sounded outdated. Thus even Zamrock’s greatest band, Witch, splintered, with a skeleton crew of core members embracing younger musicians to record and release two albums that found the band replacing fuzz guitars with whirling synthesizers and trying their hand at soul, disco and boogie. The LP explodes into action with the title track, an uptempo groover driven on by Gedion Mulenga’s heavy duty bass playing and set alight by Christine Jackson’s cut glass vocals. “Movin On” is swiftly joined on the dancefloor by the James Mason styled funk of “I’m Coming Back” and the powerhouse disco of “It Feels So Good”, a psychedelic disco bomb propelled into orbit by Patrick Mwondela’s swirling synths, which would undoubtedly been sampled by those French robots had they known about it. Elsewhere, Witch inject traces of the Carpenters (“It Was You Boy”), the Doobie Brothers (“You Are My Sunshine”) and Ned Doheny (“Let’s Get Together”). On paper this should be a disaster; at a push one could imagine an afro-psyche group managing a half decent disco-funk record, but the soft rock stylings of America’s west coast are surely a step to far. But in reality, the planets aligned and circumstances fell perfectly into place, as the combination of a band of talented musicians, at the height of their creative powers wrote eight perfect songs, each a snapshot of that era, but completely unlike anything else around.

FORMAT INFORMATION

LP Info: Repress in new artwork

Invisible City Editions return wance-agin, Tommy Mandel providing the good stuff on the latest outing of everyone's favourite reissue series with a compilation of personal, synth-laden pop songs created between 1980-87 in NYC. 

His professional work as a keyboardist and vocalist found him on stage and in the studio with many of the 80s greats from the Clash, Todd Rundgren, B-52s, Violent Femmes, The Ramones, Tina Turner, Mark Ronson, Dire Straits and Bryan Adams. While offstage and out of the major studio sessions, Tommy wrote in little books, made animation films and hooked up a massive amount of synthesizers, sequencers,microphones and recorded songs like diary entries. He self released almost 20 CDs, cassettes and one self titled 12” EP. Each song selected here is stunningly simple, lush, desperate, playful, and harmonic, touching on disparate trangents like Brian Wilson, Egyptian Lover, Michael Shrieve,Holger Czukay, Ariel Pink, YMO, AOR FM West Coast Rock, Arthur Russell, Martin Denny, Peter Gordon, Drexciya, Prince and private issued new age boogie. Tommy recently jokingly coined his music 'corporate ambient' and it shouldn’t entirely work; but somehow he manages to effortlessly make each song a Tommy Mandel song - DIY, homespun, personal, stunning, and not too serious. This is perfect pop - very charming, sincere, infectious and the work of a humble, good hearted, romantic savant. 

These Eyes

Soca Hustle / Let Me Love

One of the most mysterious and outsider 'Soca' 45s out there by HM 'These Eyes' Timothy.

The A-side 'Let Me Love' sounds like doo wop recorded with Oluko Imo's gear. And the B-side 'Soca Hustle' sounds like the Residents jamming a Marvin Whoremonger song with Augustus Pablo. The original 45 is so obscure that even his siblings didn't know that he made music. And rumour has it that, frustrated by its lack of success, Michael threw most of the copies of the 45 in the valley beside his family's house in the hills just outside Port Of Spain. 

FORMAT INFORMATION

7" Info: 2017 repress, New Artwork

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought after albums of folky jazz in the key of Joni. It was this album, originally self-released on cassette in 1986 that caught the label's attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place. Issued here for the first time on vinyl, with a full restoration and re-master. 


Latest Pre-Sales

215 NEW ITEMS

This was a big hit at the @bluedotfestival - we have just one copy left at the shop now of The Voyager Golden Recor… https://t.co/u1PtmelZM4
Mon 23rd - 10:37
RT @up_and_adam: Nice to see @PiccadillyRecs getting BBC coverage here: https://t.co/9r15O2oDv7 - interesting environmental idea to ditch p…
Mon 23rd - 9:49
What a set! @Vesselsband have just finished playing @bluedotfestival and we have some signed copies of their album… https://t.co/xJgF82DZB3
Sun 22nd - 6:41
We now have @slowdiveband signed albums in. Thank you for popping to our pop up shop @bluedotfestival guys. https://t.co/qvq2SqExmk
Sun 22nd - 3:54
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