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LEFT EAR RECORDS

After previously releasing Starship Commander Woooo Woooo’s – Mastership LP, Left Ear Records have continued excavating the archives of the artist more formally known as Omer Coleman Jr. The result is two handpicked mid 80’s instrumentals salvaged from the original master tapes, as well as an extended vocal edit on the flip for good measure.
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After laying his alter ego to rest Omer made a handful of electronic releases on his own Kansas based ‘Remo’ label. Of these releases Left Ear has selected their two favourite instrumentals: ‘Lovin “Babe” Sure Is Fun’ and ‘So Good’. ‘Lovin “Babe” Sure Is Fun’ was originally released in ’85 and was created to celebrate a time in America where “the economy was good, people were happy and love was in the air”, the essence of which Omer captured using his Roland 808 and 303 in what may best be described as Acid-Boogie. ‘So Good’ on the other hand is a sensual downtempo cut shaped with heavy-bass, telephone samples and guitar solos that conjures images of late Night Rendezvous and compromising scenarios.

Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez. As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.

STAFF COMMENTS

Patrick says: When I played this to Barry, he's wide eyed response was only to smile wildly and say..."Balearic". Well, my esteemed colleague was quite correct, this is in fact as Balearic as sharing a cocktail with Moonboots while Jason Boardman soundtracks the sunset.

Left Ear's procession of perfection continues with a long-awaited reissue of Kingsley Bucknor's Nigerian synth winner "Just U And Me". After cutting his teeth playing with Fela in the 70’s and releasing two Afrobeat LPs on his own, Kingsley travelled the globe before landing in London. Booking into Audiovisual studio in Chelmsford, Kingsley laid down 6 distinctive electro-funk tunes inspired by both African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB. Musically, the set offers nods to MJ's 'Off The Wall' (check out the upbeat boogie of 'Someone Is Talkin' & Shoutin'), West End classics and Ashford & Simpson, while retaining that stretched and spangled sound you only find in African disco...


Japanese Electro original, Minoru Hoodoo Fushimi, self-released four albums (two LPs and two CDs) between 1985 and 1992, establishing a distinctly underground career. Now Melbourne`s Left Ear Records have selected twelve tracks, for a double vinyl retrospective. 10 tracks from Minoru`s four albums and a further two unreleased tracks from the archives. Minoru set out to combine his love of all things funk with traditional instruments and song from his homeland. He uses shamisen on "Thanatopsis", a squirming and squelching funk trip to a land where Parliament`s "Flashlight" and George Clinton`s "Atomic Dog" ride with Osamu Kitajima`s Masterless Samurai. "Mizuko No Tamashii Hyakumademo" sees Fushimi rocking the Shakuhachi while "Nohdashi" puts koto with a Jimmy Castor riff, all set to popping and locking beats. Minoru`s vocals switch between raps about cellular metabolism and haemoglobin, soul croon and vocoder. On "Shinz-San" he adds metal guitar to vintage Sugarhill. And he goes crazy with his sampler. Scratching in cats, frogs, babies, laughter, giggles, traffic jams, failing ignitions, opera singers, and amorous sighs. "Furarete" mixes elephant roars and Go-Go to create unique avant grooves that share something with Tackhead`s ON-U Sound System, Savant`s tape experiments, and fellow countrymen EP-4. 


STAFF COMMENTS

Patrick says: Weird-wave funk from the Japanese underground here as Left Ear offer a retrospective of 80s experimentalist Minoru Hoodoo Fushimi. Imagine Parliament and George Clinton jamming with Yello and Yellow Magic Orchestra while Adrian Sherwood mangled tapes in Byrne & Eno's Bush Of Ghosts. Expect squelching bass, funk guitar and plenty of sampler abuse finished perfectly by a vocoder topping!

Left Ear Records come up trumps here, treating the heads everywhere to an opportunity to enjoy one of the most unique and high quality private press releases of all time for a realistic price! Originally pressed in 1979 in a run of 100 copies, Thesda's jazz funk masterpiece was distributed exclusively amongst the friends and family of the group and only a handful have copies have found their way into the collectors' market in the intervening thirty odd years. The brainchild of Thomas Crawford and Eugene C. Hagburg, backed ably by a handful of like minded musicians, Thesda existed for brief moment of sublime expression, captured in its entirety on this gorgeous LP. "Spaced Out" takes us on a cosmic journey through jazz funk, soul and disco into that far out dimension of groovesome psychedelia inhabited by Mandre and Dexter Wansel. Fully licenced and reissued for the very first time, this Left Ear pressing is your best chance to own this forgotten piece of jazz-funk history without having to remortgage the house.


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