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Recent Best Sellers
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2LP
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WARP 257LP
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Gatefold double LP version. "The idolized and enigmatic duo is back. A series of cryptic clues dropped in various formats, from a one-off 12" on Record Store Day, to hidden messages on YouTube, NPR Music's All Songs Considered, fan forums, and even a video premiered on Adult Swim, all led their fans on a wild chase to reveal the album details. Now that the world knows - the anticipation is at a fever pitch for one of the world's most revered and mysterious electronic acts. Musically, the album is somehow dark yet positive, with atmospheric dissonance and mind bending melodic creations."
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2LP
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SA 001LP
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Selected from one of the most complete Spaghetti Western audio archives, this 5-volume series showcases the most inspired tracks in this legendary genre. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, Ecstasy of Gold is the definitive series for aficionados of Euro-Western films and the music that they created. Loud gunshots with reverb and echo appear with the first image of a lawless killer riding a horse... a punchy & trebly bass guitar seeps into your brain as he draws his pistol... a hair-raising scream half-melodic, half-banshee spews forth from the speakers as blood splatters yet again onto the desert floor. The audio soundtrack to the Italian version of the American West is flamboyant, brutal, intense, and unforgiving. Songs composed for the Italian Westerns of the 1960s and 1970s have become a genre all unto themselves. There were hundreds of European Westerns during this period and the majority of them were made by Italian directors and scored by Italian composers. Crying trumpets, exploding surf guitars, thundering drums, droning organs, dramatic vocal performances, and innovative special effects were woven into a wild and violent desert backdrop creating that undeniable Spaghetti Western sound heard on this record. The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns and this compilation presents transcendent, brilliant and challenging tracks from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Nico Fidenco, Piero Umiliani, and many others. 2LP gatefold in a limited edition pressing of 750 copies.
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2LP
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SA 002LP
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Semi-Automatic Records presents volume two in their five-volume Ecstasy of Gold series, selected from one of the most complete Spaghetti Western audio archives. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, The Ecstacy of Gold is the definitive series for aficionados of the Euro-Western films and the music that they created. The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns and this second volume presents transcendent, brilliant and challenging tracks from the 1960s and 1970s from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Riz Ortolani, Piero Umiliani, and many others. 2LP gatefold in a limited edition pressing of 750 copies.
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SF 013LP
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There is a legend in Burma stating that swarms of male dragonflies gather to join in choruses of high-pitched tones to court their mates. The ones that don't succeed in mating eventually scream so loud that their chests explode and they drop dead to the ground. These recordings are a tribute to this legend. Droning cicadas, dragonflies, and other insects display their charm as masters of the high frequency airwaves, recorded live and unprocessed by Tucker Martine in the lush settings of Laos, Thailand, and Burma. Enter the supernatural world where entomology and electronica converge in a tropical hallucination of alien sound. Anyone who has ever wondered if these strange symphonies could be recorded or preserved as precisely as they sound in the field need look no further. Martine has done it and you will be transported to the exact experience one would encounter in these mysterious lowlands. Limited edition LP pressing of the long out-of-print CD from 2004, comes with a beautiful tip-on jacket, including an insert with photos and liner notes by Hakim Bey and Alan Bishop.
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12"
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LOVE 084EP
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Miles' returns with a half-hour EP of new material more squarely aimed at the floor with four darkened, robust variants. "Blatant Statement" slowly emerges from a rough alignment of metallic percussion and abrasive stabs you'd most likely associate with Vatican Shadow, before super-warm bass stabs shifts the perspective. "Technocracy" delivers an oozing house deconstruction, while "Infinite Jest" revolves around an industrial cacophony somewhere between technofied Pete Swanson and a sweaty Kassem Mosse. "Plutocracy" is a bleached-out warehouse chug surrounded by a submerged choral arrangement.
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CD
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RINSE 031CD
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Rinse: 22 marks the beginning of a new era for Rinse FM's iconic mix CD series. Where previous installments have featured only DJs who regularly play on the station at the time of release, the mix series now casts its net wider. Future installments will also feature DJs who are respected pioneers of the sounds that Rinse FM plays and represents, and Kode9 -- founder of the iconic Hyperdub label, and with his long personal involvement with Rinse FM -- is an ideal figure with which to make that transition. The mix is a vibrant snapshot of the DJing approach he's been developing recently, drawing from an ever-broader range of styles. It opens with bounding, sub-heavy house and funky, before tracing an almost subliminal increase in tempo through trap-inspired hip-hop instrumentals and footwork. The mix is a thrilling and visceral exploration of rhythm and texture, where eddies of percussion and rogue rips of sub-bass swirl around and into one another, keeping the mix in continual, anxious motion. Grimey strings and gloopy synth melodies from DVA and Champion curl around Jam City's juddering rhythms and the soured bass-blasts of Joy O's anthemic "BRTHTT." Later, RP Boo's sinister "Steamidity" sharply cuts across into angular footwork territory for a final frenetic half-hour of rhythmic free-for-all, where DJ Rashad is a key presence, his tracks dicing soul samples into expressive new configurations. Three brand-new Kode9 tracks appear on Rinse: 22 -- of which "Uh" is set to be released as an accompanying single, backed with a brand-new exclusive track. Artists include: Burial, Theo Parrish, Morgan Zarate (feat. Roses Gabor), Titonton, Alex Parkinson & Chris Lorenzo, Funkystepz, Terror Danjah & Champion, Kuedo, Visionist, Dexplicit, Faze Miyake, The Bug (feat. Flow Dan), Cashmere Cat, Rustie, S-Type, DJ Manny, Uncon Sci, Bleep Bloop, DJ Earl, Sam Binga & Addison Groove, DJ Spinn, Freshmoon, DJ Manny, and Phil.
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2LP
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HOS 383LP
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Hospital Productions present a very necessary vinyl edition for one of the most effective industrial/ambient collections in their catalog, and one of the label's most sought-after. Over the course of three cassettes (limited to just 99 copies) issued in 2012, Lussuria ("Lust" in Italian) drip-fed these eight tracks of opiated, phantasmic SM atmospheres into the musical bloodstream, duly hailed by many as one of the most crucial set of tracks released in 2012. Reflecting the ritualistic appeal of late '70s and early '80s Italian industrial à la Cicciolina Holocaust, Sermonizer, or MB, crossed with the epic claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil, the enigmatic Lussuria has conceived nothing short of a dark ambient masterpiece for our times. It's a De Quincey or De Sade-like meditation on a perceived American condition that percolates far beyond its borders, matching the militant oppression of Vatican Shadow with martial pomp of opener "Keys to Unlock Paradise (Roman Showers)" and the cold-sweating tension of "Queen of Swords Reversed," while ambient interzones such as "Viper Room Vigil" and "Mondo Narcotico" relieve the suppression effectively as a loosened tourniquet. In his role as the dark interpreter, Lussuria acts as informant from the netherworld, relaying the eschatological drone vision of "Under" and the backmasked bacchanalia of "Coiled Serpent Shedding" to fanged ears on the other side, culminating with two furtive dispatches in the coruscating half-light of "Nicotine Incense Trepan Redux," and the uncannily poignant video-diary entry set to numbed pads and raging black metal noise inferno that closes American Babylon. So many attempt this sound, yet its putative pleasures remain just out of grasp to most. Not so with Lussuria. Mastered and cut by Matt Colton at Academy.
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LP
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PAL 011LP
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Small repress. Gatefold sleeve. Recordings from the tour last summer (2012).
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12"
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BKEDIT 005EP
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The Head Technician cruises up with his first 12" maxi single, presented on Boomkat Editions. Since Type's reissue of his Black Mill Tapes last year, PCA has had praise coming from all angles: whether it's for his slick-but-sleazy, Carl Craigian lustre, the BoC-like melodic hooks, or his beautifully full bodied analogue production; he's really hit a collective soft spot dead on. We were keen to hear him attempt something slightly more club-wise, and, et voila, we now have Superstitious Century. Opener "Vorticism" is a real peach, steeped in nostalgia for early '90s UK house with the rosy-cheeked, wide-eyed essence of Smokebelch and classic AFX (it almost sounds like something off the first Analogue Bubblebath EP) distilled to a spine-tingling brew, and neatly contrasting with the subtle, slo-mo balearic build of "Zero Centre" to complete the A-side. Turn her over for the extended and seductively oily, oriental chug of "Wasted Evolution", which has become a bit of an anthem at our monthly Haxan gatherings, and there's the blissed out arpeggios of "End of all Eras" to bring us safely in to port, like some lost outtake off Boards of Canada's Music Has the Right to Children.
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2LP
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SF 033LP
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Molam is a multi-faceted folk country music native to Laos and the collection of rural Northeastern Thai provinces called Isan. Molam is an umbrella term used for numerous Lam styles. It literally translates into "expert singer" or "expert song." Featured here on volume two of this series are Lam Phun, Lam Thuy, Lam Plern, Lam Dern, and Lam Sing styles of Molam recordings from the 1970s and 1980s. All of these forms are built from a tradition that is centuries-old. A few examples of Molam/Luk Thung (Thailand's national country music) hybrids are also featured here. In the late 1960s, at the onset of Molam's modern genesis, electric guitars and organs were introduced alongside the extant folk sounds of the khaen (bamboo mouth-organ) and Phin (Thai lute). Hybrid styles were formed with an electrified sound that jived with tradition while creating something entirely new. Much of the music relies on stock formulas, designed primarily to showcase the stylings of various singers from the region. But, as this brilliant collection demonstrates, the rules tend to bend a bit as more adventurous groups experiment with the genre and the production. Sound effects, flamboyant vamping, odd vocal styles, and trick intros and finales based on popular rock themes show up now and then, among other playful and dynamic shifts, making for some exceptional listening. So join us now in our perpetual and confounding love affair with Thai Isan Molam. Enjoy this rarely-heard music, culled from vintage cassette and vinyl recordings, rescued from the silent places in which they've rested for the past decades. Compiled by Mark Gergis and Alan Bishop. Beautiful 2LP limited edition vinyl release in a full-color heavy-duty gatefold jacket of the long out-of-print CD from 2007.
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LP
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LAUNCH 048LP
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2013 repress! LP version with die-cut front cover. Rocket Recordings presents the debut album World Music by the band Goat. For those who are unaware, Goat is a collective of musicians who hail from a small and very remote village called Korpilombolo in deepest, darkest Sweden. Legend has it that for centuries, the inhabitants of the village of Korpilombolo were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to Korpilombolo by following a cipher hidden within their most sacred of ancient scriptures. The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home -- there, they were able to practice their craft unnoticed and unbothered for several centuries. This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled. To this day, the now picturesque village of Korpilombolo is still haunted by this Voodoo curse; the power of the curse can be felt throughout the grooves of this Goat record. The nine track album follows the underground success of the now sought-after 7" Goatman, which is also included in this selection. The band takes in many influences, from the Afro-groove that is central to the album, through to head-nodding psych, post-punk, Turkish rock, Kraut repetition and astral folk. "Over insistent rhythms that suggest Spacemen 3 and, at least in spirit, the conjuring drones of Pandit Pran Nath and La Monte Young, Goat weave an ecumenical history of rock'n'roll. They intercept signals from Led Zeppelin and Funkadelic, Jefferson Starship and Fela Kuti, the Congos and the Rolling Stones, bending them into a resiliently consistent album." --Pitchfork (8.1)
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LP
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MR 329LP
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LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s. The unhinged nature of the song titles is one thing, but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and in kicks the call of the wild. The individuals have no other option than to just go with it. I don't know about you, but I have an intense dislike of artists that are nothing more than a modular, cookery book approximation of what somebody reckons might be a hipster record collection. This is decidedly not a case of that. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton
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2LP
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AALP 073LP
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Gatefold double LP version. Analog Africa presents a new compilation of 14 funky tracks by the legendary Orchestre Poly-Rythmo de Cotonou from Benin. Following two previous Poly-Rythmo collections released by the multiple award-winning label, 2008's The Vodoun Effect (AACD 064CD/AALP 064LP) and 2009's Echos Hypnotiques (AACD 066CD/AALP 066LP), this third compilation is another proof that our ears are facing "one of the funkiest bands in the world." Starting in 2005, Samy Ben Redjeb, Analog Africa's founder and compiler, made several trips to Benin, where he dug up most of the orchestra's output recorded between 1969 and 1983: hundreds of vinyl records and a few master tapes, in a total of 500 songs. With all that material in hands and the astonishing richness of the group's material, choosing the songs proved to be a tough task. Therefore, it seems only natural that it has taken a few years for this third volume to come out of Analog Africa's sonic treasure trove. The 14 tracks presented here have never been issued outside of Africa and most of them follow the spirit and sound of the first volume, The Vodoun Effect, which was a selection of songs released by small and obscure labels from this tiny country which was once known as Dahomey. Some of the songs presented here were recorded using a legendary piece of equipment -- a Swiss-made Nagra reel-to-reel recorder and one or two microphones, in private houses or open-air gardens, mostly at night. And still, it would be somewhat difficult for contemporary musicians and engineers to achieve the stunning quality of raw sound and the atmosphere obtained in these recordings, even if they booked the most modern and expensive studios out there today. One thing that immediately catches the attention listening to this compilation is the band's steamroller-like grooves employed by Gustave Bentho, the mythical bass master, and Leopold Yehouessi, the fantastic drummer -- for many, Africa's funkiest rhythm sections. The power of these tunes is phenomenal and shows true craftsmanship on both the composition and the production side. "Houton Kan Do Gome," composed by Bentho, would have made James Brown proud. "Ecoutes ma melodie" is destined to become a classic late-night tune for the many amazing tropical and Afro parties taking place around the globe. "Pourquoi pas?" and "A O O Ida" would be the kind of sound The Meters would have created were they born in Benin. On December 17th, 2012, Melome Clement, the man who formed the all-powerful orchestra, passed away of a heart attack. The "boss," as the other band members would tenderly call him, will be missed, but not forgotten. The soul of the music he created has permanently engraved itself in the soil of Benin.
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2LP
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VAMPI 150LP
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Repressed. 2LP version. The first volume in a new Vampisoul series -- an uptempo and danceable collection of '60s R&B and early soul from the Federal and King vaults, compiled by renowned DJ Mr. Fine Wine ("Downtown Soulville," WFMU). Most tracks have never been reissued. "When compiling Vampisoul's dip into King Records' deep, deep rhythm-and blues vaults, I realized that I'm a sucker for the sounds of '61. And, well, '62 too. Not that other years slightly earlier and later aren't represented as well, but, fully a quarter of the tracks herein are from 1961. What happened then? President Kennedy happened then, for one thing, inaugurated on January 20th. Also: chimps and their perhaps marginally more civilized human cousins in space; Roger Maris eclipsing the Babe, albeit with a conceptual asterisk; Jets vs. Sharks on the West Side; the Cold War in full swing; a hot war in Vietnam just starting to smolder, though few Americans had even heard of the place yet. And brilliant black musicians making timeless records for a Cincinnati, Ohio family of labels -- gibbling and gobbling down Broadway, implanting indelible, stinging guitar lines in the public consciousness, and making folks do the ginger snap like there was no tomorrow, which I'm sure there didn't always seem to be. This collection of genuine King and Federal R&B sides encompasses crazy dances, intense guitar instrumentals, inspired forays into mind-altering whimsy, timeless odes to male horniness, and hook-filled, honest-to-goodness love songs. For a raucous and potentially life-changing R&B dance party in a box, though, you'll find Teach Me to Monkey to be just the thing." --Mr. Fine Wine; WFMU's "Downtown Soulville," New York City, 2010; Artists include: Willie Wright, Hank Ballard, Lulu Reed, Little Willie John, Lloyd Nolan, The "5" Royales, Little Mummy, The Valentines, Eugene Church, Charles Brown, El Pauling, Roy Milton & His Orchestra, Freddy King, The Drivers, Carol Ford, Little Bobby Moore, Little Emmett Sutton, Willie Dixon, Johnny Watson, and Eddie Kirk.
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2LP
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NA 5100LP
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Gatefold double LP with a 20-page booklet of extensive liner notes. "Selections from the Sinecure Books publication Enjoy the Experience: psych, funk, folk, jazz, lounge, boogie and straight-up-weirdness from American private press albums. Enjoy the Experience: Homemade Records 1958-1992 is the inaugural offering from Sinecure Books. (The hardcover book version: SI 105BK) is the most comprehensive overview of the American 'private press' movement from the latter half of the 20th Century that could possibly be assembled. Now-Again Records is pleased to distribute a 2LP anthology of psych, funk, folk, jazz, lounge, disco, boogie and just-plain-weirdness culled from the the book's selections. Take note: this is not a novelty freak show. Contained in this anthology are examples of some of the most highly regarded rock, soul, jazz, funk and singer/ songwriter albums from the '60s through the early '80s. From the awkward-yet- talented to the genius-yet-bizarre, one thing unites all musicians presented here: they sincerely hoped to become stars, they committed themselves to record, and they left themselves vulnerable to an industry not understanding of nuance, not appreciative of character. While Enjoy The Experience the book details a forceful American cultural experience that stands in juxtaposition to the mainstream even as its creators attempted to infiltrate it, Enjoy the Experience the album shows the breadth of American creativity in a compelling, start-to-finish listen. Not all of it is easy to digest, but this music is essential to the 20th century American experience." Artists: Circuit Rider, Gary Wilson, Jade, Heitkotter, The Invaders, The Muzzy Band, Carol-Leigh & Hank Mindlin, Gary Schneider, Joe E., Medico Doktor Vibes, Ray Harlowe & Gyp Fox, Arcesia, Boa, Michael Farneti, 33 1/3, Silk & Silver, Russ Saul, Dennis The Fox, Bob Harrison and Vinny Roma.
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LP
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MRSSS 521LP
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The debut album by Magazine is one of the essential albums of the late '70s, a record which defined the music of its time and still sounds as original and innovative today. Following his departure from Buzzcocks in 1977 after the release of the Spiral Scratch EP, Howard Devoto formed Magazine with John McGeoch, Barry Adamson, Martin Jackson, and Bob Dickinson, who would soon after be replaced by Dave Formula. Already in 1977, Devoto felt that punk as a genre could constrain what he wanted to express musically, and with Magazine he aimed to create a framework in which to obtain a broader range of free and daring results. Although tracks like "Shot By Both Sides" and "Recoil" are still related to Devoto's immediate past, the influence of Roxy Music, David Bowie's Low and Krautrock can be heard in the tight and dynamic sound of Real Life and its dark and brooding mood. Magazine's debut is a key album to understand the music produced during that period and much of what would come later, and today it sounds as direct, uncompromising and intense as 35 years ago.
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LP
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NIHJGT 001LP
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JRLP 051LP
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LP version. King Tubby's Hometown Hi-Fi was one the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out, enticing the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio which was in fact his home, 18 Drumilly Avenue in Kingston, Jamaica. The versions were given exclusive plays at Tubby's before some finding their way on to vinyl, as the B-side version cut to its A-side vocal, proving so popular, that the records were often bought for its version side over its vocal counterpart. King Tubby and Producer Bunny "Striker" Lee are intertwined in the birth of dub music. Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. Tubby and Striker were at Treasure Isle Studios one day while Ruddy from Spanish Town was working with the engineer Byron Smith. "Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake and forgot to put in the voice. It was a two-track recording in those days. Ruddy said 'No Man! Make it stay!' And so they cut the rhythm. When I went over to Ruddy's that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we're going to play 'Part Two.' They never called it 'Version.' And then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said 'Tubbs the mistake we made was a serious joke. It mash up Spanish Town!' The people went wild. So you have to start to do that now 'cause when the man put on the 'Part Two' everyone started singing this song. It played about 20 times. I said you try Tubbs!' Well the next Saturday night now when Tubby strung up down the farm U Roy said he's going to play 'Part Two' but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.'' --Bunny "Striker" Lee. Dynamic Sounds upgraded to 16-track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. Jamaican Recordings has compiled a selection of cuts that were all tried and tested on Tubby's hometown hi-fi sound system and worked a great set of Bunny Lee's rhythms in fine style. All killer no filler.
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2LP
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VAMPI 151LP
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Repressed. 2LP version. This is the second volume in Vampisoul's series featuring rockin' R&B and early soul from the King/Federal/DeLuxe catalog circa 1956-1967 -- 20 terrific dance cuts selected by genre expert DJ Mr. Fine Wine ("Downtown Soulville," WFMU). "We clawed our way into the King Records vaults again to come up with more virtuosic instrumentals ('Marsanova' rhymes with 'bossa nova,' more or less, if you pronounce organist supreme Hank Marr's surname with the right accent; Freddy King raises Mr. Marr two dance crazes on 'Bossa Nova Watusi Twist'); more classy love songs with a hook ('Burnt Toast And Black Coffee,' besides being the epitome of that particular sub-subgenre, is highly elusive and expensive on an original Federal 45 and much in-demand in the R&B dance parlors of Western Europe; kudos to the gong banger on the plaintive 'You Have My Blessings'); more unholy dances ('Monkey Tonight' is one of Eddie Kirk's more restrained performances, believe it or not; this compilation's title track describes a dance that, like so many of the worthwhile ones, might get you escorted from your high-school prom in handcuffs if you tried it); and more holy nonsense ('My Name Is Puddentane,' declares the prolific and wonderful Lula Reed, an earthily appropriate reply to Hank Ballard's to-the-point pick-up line 'What's Your Name'; if 'Whiz-A-Shoo-Pepi-Dada' meant anything, would it get your hips shaking quite so violently?). Then there's the record that's almost always in my DJ box, one of my favorite 45s ever -- so exciting when its drums and taunting female chorus kick in over a loud system in a sweaty club, only to be answered by Johnny Watson's blistering voice and guitar: 'I say, I love you.' The women singing 'Get them women off your mind' -- confusingly, I can't get them off my mind. And the capper? A strong contender for Greatest Song Ever, in its best incarnation: Otis Redding's 'Shout Bamalama.' The custodians of the King vaults couldn't come up with this recording for us; for some reason, they found only a tamer mix. I had to dub it off my well-worn 45 (speaking of scratches!)." --Mr. Fine Wine
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SUBL 090LP
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The first official vinyl reissue of one of Sweden's greatest unknown psychedelic treasures from the 1970s. From the original master tapes and with the original artwork, including previously-unpublished archival pictures and liner notes. The album contains a mysterious, shamanistic and highly psychedelic "folk music" infused with incredible soundscapes of derailed, fuzzed-out violins, soaring guitars, rattling hand percussion, droning vocals and pulsating bass rhythms. Originally released in 1972, the album sold 300-400 copies and was then withdrawn and the remaining copies discarded, making Jola Rota a much-rumored and sought-after Swedish droned-out and mesmerizing psychedelic artifact. One-time-only limited pressing of 500 copies.
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Book
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SHIN ISB
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"The Incredible String Band and the 5,000 Layers of Psychedelic Folk Music. Witches Hats & Painted Chariots covers a broad spectrum of British underground folk-rock from a lengthy selection of articles on acid-folk pioneers The Incredible String Band to the acts that followed in their footsteps. Folk and psychedelia held hands around the maypole while drug-inspired lyricism collided with traditional music, pagan mythology and spiritualism to create a sound and lifestyle that still resonate today. This delightfully-designed book overflows with sumptuous visuals and exclusive features -- no one has presented the work and influence of the String Band with such vivid colour and insight." Paperback, full color with illustrations, 112 pages.
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2CD/BOOK
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DTD 027CD
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Greek Rhapsody -- Instrumental Music from Greece 1905-1956 is a 2CD collection featuring 42 tracks meticulously remastered from 78rpm recordings of Greek instrumentals (1905 to 1956). Many tracks are rare and never previously reissued on CD or vinyl; some are taken from the only known copies, while previously reissued tracks are here offered in far superior sound quality. This compilation offers, for the first time, a unique panorama of the instruments and styles of the Greek music of the period. A 152-page hardcover book with two CDs elegantly housed inside front and back covers. Tony Klein is a British musician, researcher, and writer based in Uppsala, Sweden. He has played and researched Greek music for 40 years, and studied with, among others, the veteran Stelios Keromitis. In 2005, in collaboration with collector Charles Howard, he produced and annotated the CD Mortika - Rare Vintage Recordings from a Greek Underworld, which contains 21 rare rebetiko recordings.
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2LP
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LOVE 081LP
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Repressed! Miles has been releasing material on Modern Love for a decade, first as one-half of Pendle Coven, then on his own as MLZ, and eventually pairing up with Sean Canty to record as Demdike Stare. In between he's also pursued more experimental terrain under the Suum Cuique moniker, produced jungle for the HATE project and (together with Andy Stott) taken on the occasional release as Millie & Andrea for Modern Love sub-label Daphne. He is also an admired, exhilarating DJ, and his sets have been known to span a broad spectrum of electronic music, from the obscure UK techno of labels like Radioactive Lamb and Irdial, to classic Chicago house, Detroit techno and -- most importantly -- early '90s jungle and breakbeat, feeding into his love of the most uncompromising end of the Italian experimental movement, musique concrète, synthwave, and contemporary noise. After more than 10 years of producing, Faint Hearted is his debut solo album -- an exposition of Miles' love of electronic music in all its shapes, harnessing his fidgety production style into one expansive, restless set of tracks. The album opens with the filtered and looped jungle mutation of "Lebensform," through to the minimal, barely-noticeable bass-shifts of "Irreligious," the classic Plastikman-infused looped ruffage of "Status Narcissism" and the padded bliss of "Sense Data," coming across like a lost Move D production from the classic Studio Pankow era. The second half opens with "Rejoice," a slowly-unfurling 4/4 variant that sounds like a more technofied and electric take on his work with Demdike Stare, while "Archaic Thought Pattern 1" invades a sequence of strings and bass notes with blasts of white noise, sounding like something off Aphex Twin's Donkey Rhubarb EP rebuilt by Mika Vainio. The set ends with the evocative field-recorded sequence "Queuing" and the ambient futurism of "Loran Dreams," in some respects the straightest, most affecting nine-minute stretch yet from a producer who is seemingly unable to settle or stand still. Mastered and cut by Matt Colton, pressed at Pallas.
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LP
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BLACKEST 016LP
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Licht is the debut album by Shampoo Boy, a new guitar, bass and electronics trio from Vienna, comprising members Christian Schachinger, Christina Nemec, and Peter Rehberg. Schachinger and Rehberg have played together in various projects over the last 25 years, most notably Peterlicker -- see Last Slave (2010) and Nicht (2011), both released on Editions Mego. Schachinger was also involved in Der Scheitel, their album In einem Haus das Liebe heißt being a classic of German "Schlagermusik." Rehberg currently operates the Editions Mego family of labels and is a member of KTL, R/S, and Fenn O'Berg as well as working on theater productions with Gisele Vienne, and with choreographer Margret Gudjonsdottir. Nemec's background is in avant-rock and industrial outfits such as Bray and her own performance group SV Damenkraft. She remains highly active as a solo artist, both as Chra and under her own name, and she has performed on several occasions with Lydia Lunch. Licht is made up of four improvisations recorded and mixed at Twisted, Wien between April 2012 and January 2013. Mastered by Noel Summerville at 3345, London. Artwork by Stephen O'Malley.
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LP
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DOY 677LP
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"A seminal album of the French ye-ye era, Françoise Hardy's self-titled debut (known in the US as The 'Yeh-Yeh' Girl From Paris!) was released shortly after her debut single 'Oh Oh Chéri' in 1962. The success of this album, along with its hit 'Tous Les Garçons Et Les Filles', made the eighteen-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other ye-ye girls of the sixties, like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world."
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CD
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DIAL 028CD
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After the unanimous global acclaim of Glass Eights (DIAL 022CD/LP), John Roberts returns with Fences, his second full-length offering on Dial Records. From elegantly-dusted chamber pop and semi-psychedelic acoustic musings to turgid orchestral dancefloor fillers, Roberts creates a beautifully collaged symphony of recorded violins, cellos, cracked guitars, detuned pianos, faded samples, broken drum machines and manipulated answering machine cassettes. Fences is informed by the effects of travel on the brain: produced over the span of a year in various countries, it is in large part a recollection of what the mind chooses to imprint upon itself, and what physical sensations are dragged to the surface during a re-examination of those particular experiences. It is a deeply personal recorded exercise in free association resulting in a sort of sedated fever-dream: plucked and bowed strings reverberate densely through thick air against weighted Persian rugs, while the voices of white-lacquered synthesizers cry out along the marble tiles of empty palace corridors; yellowed nylon guitar strings are rhythmically pounded against microphones between the mirrored walls of a hotel bathroom, their distorted signals captured and warmed on VHS cassettes before being ejected and thrown into the brackish water of a worn bathtub. Gathered and dried off, these aural relics are patched together into a delicate piecemeal -- patent leather next to cashmere next to plastic next to lace -- with visible seams but impeccable stitch-work. With Fences, genres are either disregarded completely or shredded and re-sculpted into unfamiliar amalgamations. Pop songs are gutted and disemboweled before eventually being given a new skin of collaged features stretched tightly across their frames; the tired bones of dance music are stamped and shattered into shards, melted and re-pressed into pleasurable moments of introspection spotted with outbursts of anthemic extroversion. Roberts chooses to focus here on the unpredictable nature of the mind, weaving recalled experience with minor works of fiction. This is music from the forgotten film scores of discarded laser discs; the sound of memories re-quilted into slabs and thin-sliced into patterns which, when played back, conjure visions of the past and materialize impossible moments of déjà vu for instances of the future not yet experienced.
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2LP
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NN 023LP
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Recorded on April 18, 2010 at Clemente Velez Center, New York City. German free jazz saxophonist and clarinetist Peter Brötzmann: alto and tenor sax, B-flat clarinet, tarogato. American jazz drummer/percussionist, Hamid Drake: drums and percussion.
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2LP
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ABDT 050LP
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Limited edition 2LP. The Invisible Hands is the English translation of the band's original Egyptian Arabic name: El Ayadi El Khafeyya. Taking almost two years to create amidst an unusual and challenging backdrop, this is the new project of Alvarius B. (Alan Bishop of Sun City Girls). Eleven highly-crafted songs projected through his typically dark lens of songwriting and a band of brilliant musicians from Egypt; this special edition limited 2LP includes the English and Arabic language vocal versions of the album together in one set. Sides A and B are the English album delivered in AB's patented sinister style, drenched in lovely psychedelic folk arrangements and vocal choruses with a nod to what could have potentially been an album that surfaced decades ago but instead found its way into the future, superimposed over historic and tumultuous times in the center of the Arab world. Sides C and D are the Arabic version -- the exact same 11 songs but the lead vocals are sung in Arabic by Cherif El Masri and Aya Hemeda. The mixes are almost identical but there are various subtle differences in instrumentation, vocal choruses, and effects. The group was established during the summer of 2011 and the album was recorded in Cairo in May of 2012. Band members include Cherif El Masri and Aya Hemeda (both former members of popular Egyptian group Eskenderella) with drummer Magued Nagati. On a handful of songs, several other players from the Cairo scene are featured including Sam Shalabi (Shalabi Effect/Land Of Kush) on oud and Mohamed Medhat on violin and viola. This limited edition one-time 2LP vinyl pressing comes in a beautiful heavy-duty gatefold jacket with full-color artwork and all lyrics and credits printed in English and Arabic.
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2LP
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ERATP 048LP
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Deluxe double LP version with die-cut sleeve and printed innersleeves. Ukrainian pianist Lubomyr Melnyk -- the pioneer of Continuous Piano Music -- presents his first release on UK label Erased Tapes. Entitled Corollaries, the album was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne. Erased Tapes founder Robert Raths knew it was time to share the great musical legacy of Melnyk, to which he simply responded: "Where were you guys when I was thirty?" Melnyk is a true innovator, exploring new directions in contemporary music. Classically-trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world's fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. In the artist's own words: "My first encounter with Peter was at the Ambient Festival in Cologne, when I came into the cathedral where he was playing along with Nils. I was amazed and enthralled by the beauty and power of their music. The colors and majesty of the cathedral coupled with their music made it a great experience I will never forget. Some time later, Peter contacted me with an invitation to come visit him in Berlin and try creating some music together. I had not played improvisation with other ambient musicians before, having worked solo for all these past years. So it was such a relief to start playing at his studio and hear his wonderful input. He was adding a beautiful and delicate dust cover of sounds and pearly effects that cast a lovely sparkle over the piano music -- I loved it. It was a thrill to hear Continuous Music in some new clothes! And with the addition of Nils and Martyn, we all felt the beautiful spell of the communal flow as the music carried us into wonderful spaces." The album artwork and design was created by American contemporary artist Gregory Euclide, known for his cover art for Bon Iver's self-titled album.
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2LP
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KH 9004LP
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The Velvet Underground were arguably at their live peak in late 1969. Lou Reed, Sterling Morrison, Maureen Tucker, and Doug Yule (who'd replaced John Cale a full year previously) had developed into a sensationally tight and adventurous quartet, and this show -- the second of two recorded on consecutive nights before a tiny audience in Dallas, Texas -- is considered by many of their fans to be the finest surviving document of them in performance. Comes on 180 gram vinyl and includes insert with background notes.
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2LP
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MCR 905LP
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"We are finally set to reissue Blowout Comb, the 1994 second album by cult, Brooklyn-based hip hop trio Digable Planets. The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael 'Butterfly' Butler said it summed up what they wanted to do with it: 'It means the utilization of the natural, a natural style,' he has said. Like with 1993's debut Reachin' (A New Refutation of Time and Space), 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving, and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics -- and its original inner sleeve was modeled on the newspaper of the Black Panther movement. Its instrumentation includes sax, vibraphone, and flute. Its samples -- gathered from global crate digging trips while touring the first album around the world -- included Grant Green, Eddie Harris, Shuggie Otis, and jazz-funk pioneer Roy Ayers (whose 'We Live in Brooklyn, Baby' became 'Borough Check' here). And yet at the same time its beats are infectious and its spirit undeniable."
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LP
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MRSSS 520LP
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On 180 gram vinyl with a full-color printed innersleeve. "Groundbreaking" doesn't even begin to describe PiL's album from 1978. Surrounded by polemic on its release, this is arguably where post-punk started. Released in December 1978 after the Sex Pistols' break-up, First Issue is considered by many to be the first post-punk album. After the punk hangover, John Lydon set out to create a new sound that would stand apart from what other contemporary bands were doing, fully aware that it wouldn't be understood by many of his old followers. For this he counted on the help of ex-Clash guitarist Keith Levene, first-time bassist Jah Wobble, and Canadian drummer Jim Walker. It was a bold and risky artistic move towards the future, which drew from Krautrock, prog rock, dub and disco rhythm overtones, all involved in a sinister atmosphere. Despite this radical change, the disconcerted punk fans could still hear echoes of the Sex Pistols in tracks such as "Public Image," "Attack," and "Low Life." The recording took place in different studios and was fraught with problems as the band soon ran out of money. The LP was deemed too uncommercial for the U.S. market despite some parts being re-recorded and its release there was cancelled, and it sparked controversy in some countries due to the lyrics of "Religion." It sounded like nothing else at the time and confounded public and press alike, but today First Issue stands as a truly innovative album that challenged the music of its time.
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LP
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GUESS 112LP
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In 1976, Barış Manço released his third album, which was actually also a compilation of songs previously released on 45s, as happened with his debut. For this LP release, and basically because of contractual reasons, Guerssen are presenting this compilation to you with a few changes: two of the original songs are not there, and instead they have added four new ones. So, what we get here is a scorchin' collection of funky psychedelics done the Turkish way that will knock you out. Big Barış beats them all, the King of Anadolu Pop. Remastered sound. Includes an insert with liner notes and photos. Pressed on 180 gram vinyl.
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2LP
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BC 302LP
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Restocked on vinyl; gatefold 2LP version. Until recently, it wasn't much more than some rumors on the web: an LP called Ten Ragas To A Disco Beat, featuring acid house avant la lettre, that was recorded in India in 1982 in India, 5 years before the first acid house record, Acid Tracks by Phuture. So it turns out, the record was no rumor. Only a few hundred copies of the LP were ever pressed, and only a handful seem to have survived. Moreover, the LP outdoes all expectations. Performed on the type of synths that would later define acid house, the Roland TB-303 and TR-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. Its maker, Bollywood session musician Charanjit Singh, set out to translate ancient Indian classical ragas to the modern synthesizer, and in doing so, invented house music along the way. The 10 tracks make a consistent listen from A to Z. Its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive.
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CD
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WARP 257CD
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"The idolized and enigmatic duo is back. A series of cryptic clues dropped in various formats, from a one-off 12" on Record Store Day, to hidden messages on YouTube, NPR Music's All Songs Considered, fan forums, and even a video premiered on Adult Swim, all led their fans on a wild chase to reveal the album details. Now that the world knows - the anticipation is at a fever pitch for one of the world's most revered and mysterious electronic acts. Musically, the album is somehow dark yet positive, with atmospheric dissonance and mind bending melodic creations."
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CD
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BLACKEST 003CD
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Debut album from the Edinburgh-based duo of Marc Dall and Alex Ander, who work with intricately-stacked percussion, dub-wise bass and a rich harmonic tapestry of processed voices, keys, harp, vibraphone, guitar, woodwind, strings and synthesizer -- every sound re-sampled to the nth degree then subjected to subtle automation and rigorously fine-tuned over a period of many months. From the mesmerizing, pastoral drift of "Anger Sees Red" and "Dwelling by the Meadow" to agitated arabesques like "The Physical Body" and the self-titled "Dalhous," the resulting pieces explore dream-like but treacherous terrain. Eleven questions in a world of blue.
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2LP
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DIAL 028LP
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Gatefold double LP version.
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LP
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KSLP 044LP
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LP version. Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as reggae . Lee Perry (b. Rainford Hugh Perry, March 28, 1936, Hanover, Jamaica) began his entry into the music business at the age of 16. He moved up to Kingston Town and working around various sound systems, before finding employment at Coxonne Dodd's Studio One, in the late '50s early 1960s. Perry started out as a record scout, organizing sessions and supervising auditions at Dodd's record shop on Orange Street, helping to make hits for Delroy Wilson and the Maytals, which would lead to his own vocal records released through Studio One, the musical backing for which came from legendary Studio One house band The Skatalites. Another important relationship for Perry, his first recordings with Bob Marley, came in the form of the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley, cutting such tunes as "Chicken Scratch" around 1965/1966. This tune was also to provide him with one of his future nicknames, "Scratch." A dispute over credits and money saw Perry leave Studio One and work with various producers including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he would write songs and produce hits for artists such as Errol Dunkley and the Pioneers. A tune cut during his time with Gibbs voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his frustrations in the business. This particular tune "The Upsetter" would also provide another moniker and a name for his label. Again, lack of musical credit and financial reward saw Perry move on to WIRL (West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio time and pay for pressings in return for helping to promote and distribute WIRL product. This period at WIRL saw some inspired work from Perry. "Run for Cover" was another musical blow to a previous employer, Coxonne Dodd, and featured the Sensations on backing vocals and Lynn Taitt's guitar-picking skills. "People Funny Boy" was a massive hit for Perry going on to sell over 60,000 copies. Perry worked up a new style with Clancy Eccles, who would come under attack himself on "You Crummy." "Set Them Free" was an answer recording to Prince Buster's "Judge Dread" (which had featured Perry on it) -- a plea to the judges in Jamaica that handed out extremely harsh sentences. The track was cut on the same rhythm as "Run for Cover." "Django Shoots First," inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. "Night Doctor" was a hit instrumental that featured the organ talents of Ansel Collins and "Something You Got" was a cover of a USA R& B track by Chris Kenner and "Wind Up Girl" was cut at the same session. "Water Pump" was a rude-style track that was cut later and originally released in 1974, as was "People Sokup Boy," a later version of "People Funny Boy." "Labrish" was one of the first great talk-over tunes that features Lee Perry and producer Bunny "Striker" Lee talking about the political situation in Jamaica, originally released in 1973. Bunny Lee would play a major part in Lee Perry's career around this time and they were very close, often sharing sessions and rhythms. Here we have a collection of music born out of a time spent at WIRL Records, providing an important chapter in Lee Perry's career and indeed to the story of reggae itself.
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LP+CD
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SBR 5090LP
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One of the greatest heavy psych albums ever made, this mindblower has it all -- trippy songs, spacey production, ace musicianship and jaw-dropping guitar. It's presented here in its fullest-ever version, with the full involvement of the band's enigmatic leader, Steve Morgen. Featuring eight rare bonus tracks (including home recordings made by Morgen and guitarist Murray Shiffrin shortly after the album's December 1969 release), a packed booklet and rare photos, it's truly essential for fans of psychedelia. Comes on 180 gram vinyl, includes a CD copy of the album with eight bonus tracks.
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2CD
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SNDW 046CD
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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, 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 Afrobeat, 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 'n' 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.
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LP
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KRANK 059LP
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2013 repress. "The first vinyl release in the U.S. for this, the fifth SotL album, originally released by Sub Rosa in 1999 and then reissued by Kranky in the fall of 2002. A pivotal album in their career, this marked the first time the duo completely stepped away from the more abstract sound pieces of earlier albums and engaged with the more symphonic and compositional approach that has become the forte of their more recent recordings."
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LP
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HC 024LP
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Deluxe 180 gram vinyl LP housed in an old-school tip-on jacket.
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LP
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DESTIJL 123LP
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"Peter Jefferies's extraordinary debut solo album, The Last Great Challenge in a Dull World, first saw life as a cassette via the Xpressway label of Port Chalmers, New Zealand, in 1990. As a result of some international underground acclaim in fanzines and mailorder catalogs -- for both the album and a striking 7-inch, 'The Fate of the Human Carbine,' released around the same time -- it soon appeared on LP and CD as well, through the Ajax label of Chicago. Within a couple of years it slipped out of print and out of sight. Twenty years later we're putting it back on wax which includes the songs from the attendant single, and no amount of remastering, whatsoever. Though no one's gotten around to writing a book on it yet, The Last Great Challenge in a Dull World nonetheless stands as one of the singular singer-songwriter albums of all time, existing on a sparsely populated plane with Pink Moon, Blues Run, the Game, Our Mother the Mountain and not many others. In a sandy voice that soothes and slashes, Jefferies offers a piercingly, crushingly lucid view of the endeavor of life, all our pain and small glories rendered in tones both harrowing and tender. On piano, drums and percussion, he pounds out melodies that roar, sweep and lilt, accompanied on many songs by the serrated guitars of a variety of players. Featuring a small team of South Island heavy-hitters -- all three members of the Dead C as well as David Mitchell (3Ds), Alastair Galbraith, Kathy Bull (Look Blue Go Purple, Cyclops), Nigel Taylor and Robbie Muir (who's co-billed on the single) -- Last Great Challenge provides a pivot point in Jefferies's formidable recording career, which included two bands he shared with his brother Graeme in the '80s, Nocturnal Projections and This Kind of Punishment, and four further solo albums, as well as stints in bands here (Mecca Normal, Two Foot Flame) and there (Plagal Grind, Cyclops)."
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2C 066-12698LP
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2006 reissue. "Loving fanclub limited vinyl release of the film soundtrack from 1973 by Alan Goraguer (the film was released in English as The Fantastic Planet). The album creates an interesting marijuana-induced sci-fi floating mood, blending psychedelia, jazz and funk."
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2LP
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NUMERO 049LP
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Gatefold double LP version.
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CD
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NIHJGT 001CD
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Without Your Love is the long-awaited debut LP from the mysterious oOoOO. The LP further develops -- in sometimes very unexpected ways -- the sounds oOoOO has become known for through previous releases with Tri Angle Records. The LP will be the first release from oOoOO's own label Nihjgt Feelings.
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LP
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BB 133LP
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LP version on 180 gram vinyl.
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LP
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MRSSS 501LP
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Repressed; first reissue on vinyl of The Cramps' full-album debut on Illegal Records, originally released in 1980. The jacket reads "File under: sacred music" but only if one's definition includes the holy love of rockabilly sex-stomp, something which the Cramps fulfill in spades. Years later, this album still drips with threat and desire, both testament to the band's worth and Alex Chilton's just-right production. On 180 gram vinyl.
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3LP/7"
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SNDW 046LP
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Triple LP version. Comes with a bonus 7" and free MP3 download. 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 set, 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 Afrobeat, 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 'n' 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.
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2LP
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IMPREC 383LP
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Deluxe double LP pressed in an edition of 1000 copies, housed in a gatefold sleeve.
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