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Search Result for Label VINILISSSIMO
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MRSSS 517LP
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Combo! recorded in 1960, was designed by composer, arranger and conductor Henry Mancini to recognize the contribution of the small band or combo to the musical scene. It is not a "salute" in the usual sense, however, as Mancini made no effort to copy or duplicate the sounds and arrangements of the great combos. Instead, he preferred to use the combo as a vehicle for presenting his own distinctive approach to music for small groups. The sounds on the album are fresh and creative. The music, written and improvised, has a clean, imaginative quality. Mancini assembled some of the top musicians around at the time and provided them with a superbly-tasteful framework on which to display their talents: trumpeter Pete Candoli, trombonist Dick Nash, Ted Nash on alto and flute, Art Pepper on clarinet), baritonist Ronnie Lang, pianist Johnny Williams (also on harpsichord), guitarist Bob Bain, bassist Rolly Bundock, drummer Shelly Manne, Ramón Rivera on conga, and Larry Bunker on vibes and marimba. One of the more distinctive sounds in the album is the use of the harpsichord in both a rhythm and solo capacity. Although this wasn't the first time the instrument had been used in jazz, the recorded quality and the manner in which it was presented provided a fresh and appealing sound. The sheer texture of the instrument seems to fit perfectly into Mancini's musical concept. On 180 gram vinyl.
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MRSSS 518LP
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Mose Allison was born in Tippo, Mississippi in 1927 and began to study the piano when he was just five years old, also taking up trumpet a few years later. His early musical heroes were Louis Armstrong, Fats Waller, Duke Ellington, Louis Jordan and Nat "King" Cole, and he devoted his spare time to study and absorb jazz and blues. After moving to New York in 1956 to pursue a music career, he released six albums on the Prestige label in the late 1950s. I Love the Life I Live was recorded for Columbia in 1960, and Allison described it this way in the original album notes: "This is an album of groove music. The material consists of four standards, three blues, a very pretty Al Cohn ballad and four of my own compositions. I trust that there is something in it for the veteran and for the greenhorn alike. It certainly contains more good bass players and drummers than most albums. You can hear Jerry Segal (drums) and Addison Farmer (bass) on 'Night Ride,' 'Fool's Paradide,' 'You Turned the Tables On Me,' 'Mad With You' and 'Path.' Paul Motian (drums) and Henry Grimes (bass) are on 'I Love the Life I Live,' 'Hittin' On One' and 'News.' Gus Johnson (drums) and Bill Crow (bass) are heard on 'I Ain't Got Nobody,' 'Isobel' and 'Can't We Be Friends.' I think it all came out pretty well, and I hope you do, too."
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MRSSS 519LP
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Formed in 1986 by East London school friends Graham Sutton and John Ling, Bark Psychosis started as a teenage band into 1980s hardcore noise practitioners such as Sonic Youth, Napalm Death, Big Black, and Swans. However, after the permanent addition to the line-up of Mark Simnett and Daniel Gish, the band released a succession of EPs and singles between 1988 and 1992 over which they found their own sound veering towards a more restrained and experimental style, similar to the path taken by latter day Talk Talk and AR Kane, which included elements of free-jazz, ambient, sampling, and programming. It was a fascinating evolution that peaked during the arduous recording of their first LP, which took most of 1993. Released the following year, Hex features eight tracks with perfect dynamics individually and as a whole. The music manages to sound loose and tight at the same time, and although the instrumentation is varied (vibraphone, trumpet, flute, and djembe players plus a string quartet joined the band), the approach is succinct and every element reaches a powerful effect. The mood is tense, solemn and emotionally-charged, but the album feels comforting and engaging. The concise vocals, while not following any kind of verse and chorus structure, fit hauntingly within these brilliantly structured tracks and the captivating development of the LP culminates in the outstanding ambient ten minutes of "Pendulum Man." Hex prompted journalist Simon Reynolds to mention the term "post-rock" in its review of the album, thus creating a label that would be used in the following years to describe the music of other contemporary bands such as Tortoise, Disco Inferno, Labradford, Laika, and others. However, Bark Psychosis didn't get to enjoy the relative media attention this new scene received. Gish had left the band during the recording of the album and Ling parted after it was finished. Released in the early spring of 1994 and almost 20 years after its conception, Hex remains one of the lost great records of the '90s. The experience of listening to it is as extremely rewarding as ever. On 180 gram vinyl.
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MRSSS 516LP
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Formed in Southall, West London, in 1977 by Malcolm Owen (vocals), Paul Fox (guitar), John "Segs" Jennings (bass), and Dave Ruffy (drums), Ruts were one of the most musically diverse bands to come out of UK punk. After their first single "In a Rut" received much support from John Peel, they found chart success in 1979 with "Babylon's Burning" first and "Something That I Said." Both singles would be re-recorded for their furious and raw debut LP, The Crack. The album is a masterpiece that broadens the scope of punk by incorporating elements of R&B, classic rock and the influence of reggae and dub in tracks such as "Jah War," while managing to create moments of dark and menacing atmosphere which fit the socially and politically-charged content of the songs. A few more singles in 1980 followed the LP release, but after several health problems, Malcolm Owen died of a drug overdose in July of that year. The band would carry on as Ruts DC, but Owen's tragic death put an end to the original line-up of one of the most unique and gifted UK punk bands. On 180 gram vinyl.
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MRSSS 029LP
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180 gram vinyl reissue with insert. 1982: Dragged by decades of international isolation, Madrid and Granada performed, unaware and in their own way, the same roles that London and Sheffield had assumed during the punk explosion in the UK. While the capital grabbed headlines and considered itself the epicenter of modernity, 400 kilometres southwards, Granada developed an experimental scene despite the scarce resources available. Pérfido Encanto is Diseño Corbusier's first contribution to a European-wide scene where electronic instruments rose up against the media domination of guitars. They first got together when Ani Zinc, a psychology student without any previous musical experience, met two law students obsessed with the power of machines but with different approaches. Rafael Flores believed in the extreme noise of bands like Throbbing Gristle as a source of endless energy. Javier G. Marín had a sexier concept of synthesizers. The outcome was natural: Marín and Ani Zinc amicably parted ways with Flores, who would have a remarkable career under the alias Comando Bruno. Under the name Auxilio de Cientos, Marín's intention was to provide distribution to those unclassifiable projects he knew through fanzines, radio shows and record trading. Ani's intention didn't go beyond spending time manipulating her voice on the cassettes she recorded. But one of her collage tracks reached national radio. Signed as by Neo Zelanda, "Paso hambre," consisting only of a treated, menacing and magnetic vocal, was played one night and the calls brought the radio station to a standstill. The record label DRO quickly signed her. The deal was for two singles: one with said track and another one for Diseño Corbusier. The latter never happened, so Marín decided his humble distribution company would become a label. And its first release would not be a single but an LP. The Korg synthesizer was the perfect tool for those who didn't know how to play and would never go to music school. The Boss DR-55 rhythm machine had a sweet appearance but a devastating character. A radio cassette player plugged into a Revox was the recording studio. And finally, Ani Zinc's microphone: naivety made intention. Pérfido Encanto quickly sold its 500-copies run, more than half outside Spain.
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MRSSS 515LP
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Kevin Ayers' third album is a captivating amalgam of the pastoral, psychedelic pop of his debut, Joy of a Toy and the avant-garde dalliances present on his second LP, Shooting at the Moon. Whatevershebringswesing is another instance of Ayers' brilliant eclecticism, where there is room for an orchestral suite, music hall atmosphere, a country number, progressive moments and his characteristic psychedelic pop. For many, the result is the most complete album in his discography. Collaborators on the recording include Robert Wyatt, Mike Oldfield and Didier Malherbe from Gong. Housed in a gatefold sleeve; on 180 gram vinyl.
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MRSSS 503LP
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Maybe if they had come from an English-speaking country, their name would now be among the greats of the '60s. At least, their career would have lasted longer instead of being truncated at their peak. But Los Mockers were from Uruguay and during their short life as a band, they never got beyond Río de la Plata. Their story begins at a high school in Montevideo, where three of the future Mockers were students. Aged 16, they started playing covers of Mexico's Teen Tops, The Shadows and Trini López and soon they were writing their own songs. Their upright bass was borrowed and their Spanish guitar was plugged into a radio they moved from electric guitar and bass, handmade by the guitarist's father, who was a carpenter. The primitive drum kit was finally completed and they even managed to get hold of a rudimentary Hammond organ. At the time they were called Los Encadenados and under that name they recorded their first demos, sung in Spanish. In 1964, the British Invasion shook the world. Los Encadenados also covered some Beatles songs, but they were still searching for their own identity through rougher and less-trodden paths. What really influenced their style were the first Rolling Stones records -- a little more rugged, but with a rebellious energy that electrified the whole band at once. Soon after, they found other sources of inspiration, such as The Animals. It was what they were looking for: the wild force of rhythm and blues. Montevideo got hip in the summer of 1965 and venues like La Cueva opened up, where the band performed often. Most weekends they played at student parties and they also appeared live on TV regularly. The band was growing and writing their first songs in English. It was the moment to take one step forward and choose a new name that reflected the music they were making. The fights between mods and rockers in England gave them the idea: from then on they would be known as Los Mockers. They were 18 and 19 years old. 1966 was the band's most prolific year. Then based in Argentina, after a few months they were playing regularly at venues such as Whisky a Go-Go and on TV. That year they released their first single and only LP, although they didn't achieve major success. They had a good number of loyal fans, but their music was too strange for a wider audience. A planned second LP was never completed as the band, unable to make a living in Argentina, went back to Uruguay, discouraged, in 1967. Although their comeback was welcomed enthusiastically, new tour plans fell through and they split up soon after. Remastered from the original stereo recordings. On 180 gram vinyl.
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MRSSS 028LP
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In the mid-'80s, Granada was a small redoubt of avant-garde resistance. While Madrid bragged about being the capital of the new wave scene -- the much-trumpeted Movida madrilène -- away from any media interest, the Andalusian city was part of a European-wide network where the free circulation of ideas and knowledge could be linked to the current CopyLeft movement -- an international scene where musicians were editors and the artists were equally fans. They exchanged music following that do-it-yourself philosophy in which the cassette had an ideal role as the vehicle of music diffusion. Ani Zinc would become an expert amateur of such activities. As a child, there were no records in her home in Andújar, but radio gave her company. It was her only contact with music. She received her first shock listening to "Remember Love," the repetitive song by Yoko Ono. She later found out about Llorenç Barber. Only when she arrived in Granada to study psychology did she discover that she wasn't the only one that liked a kind of music that didn't resemble anything. Granada's proximity to Africa made it possible to tune into Arabic, flamenco and pop radio stations. She would record those sounds with a radio cassette and with her own hands she would cut and paste the magnetic tape. Unable to get that Yoko Ono song out of her mind, she started discovering the possibilities of her voice. Diseño Corbusier was born out of that obsession and also out of the electronic explorations of Javier G. Marín, then a first-year law student. They had met in 1981 after an ad in the music magazine Vibraciones. "If you're into bands like Cabaret Voltaire or Flying Lizards, call me," wrote Marín. If their first record (Pérfido encanto, 1985) was a vibrant experiment where the rhythms weren't yet muscled up, with El Alma de la Estrella the duo took a step ahead. They renovated some electronic equipment and signed a distribution deal between their own label, Auxilio de Cientos, and one of the most prosperous Spanish independents of the '80s, Nuevos Medios, who were working with labels such as Factory at the time. Marín had been advised: if the rhythm can't be danced to the records won't sell. It was 1986 and he was constantly listening to DAF. El Alma de la Estrella gathered all of Zinc's obsessions. On "Chiquillo" she imitated the angry women's voices which filled the streets of the poor neighborhood where she had grown up. "Ritmo 21" can't hide her admiration for Yoko Ono's vocal register and "El Club del Ruido" came about as a fragmented document of an interview they did on the radio show of the same name. Marín created rhythm structures with which to organize the material. This time, he replaced an archaic Korg synthesizer with a powerful Roland SH101, and the tiny drum machine Boss DR-55 with a German-built one that used real percussion sounds: the MFB-512. Rather than electronic or even industrial music, Diseño Corbusier's second album was a vibrant piece of domestic craftwork. Very few got to hear it, but you get to hear it now. On 180 gram vinyl with insert. Limited, hand-numbered edition of 500 copies.
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MRSSS 027LP
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Parálisis Permanente was formed in 1981 by Eduardo Benavente and Nacho Canut, at the time members of the legendary Alaska y Los Pegamoides, one the first post-punk bands from the renowned Movida Madrileña scene to achieve a relevant degree of success. After two EPs and a few changes in the line-up, Benavente became the natural leader of the band, joined by Johnny Canut, Ana Curra (also an ex-Pegamoide) and Rafa Balmaseda (ex-Glutamato Ye-Yé). They recorded El Acto in 1982 and soon it became one of the key albums to come out from the early '80s scene that was rapidly changing the face of Spanish music. The LP embraced the dark sound and image represented then by UK bands such as Bauhaus, Killing Joke, The Cure or The Damned and filtered those influences through Benavente's immense talent and his captivating presence as a performer. The record was a mature and strong piece of work, superior in sound and overall effect to most contemporary Spanish albums. When everything indicated that the band was only starting its greatly promising career, a fatal car accident on their way to a show took Benavente's life when he was only 20 years old. Although another single was released weeks after and the other members would carry on being involved in music, this tragic event meant the end for Parálisis Permanente as a band. Liner notes by Diego Manrique. On 180 gram vinyl.
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MRSSS 514LP
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Reissue of this 1968 wild masterpiece and third album by one of rock's true mavericks, Kim Fowley. Fowley played with many bands throughout his career -- Mothers Of Invention, Family, Soft Machine, Cat Stevens and Manfred Mann, to name just a few. On 180 gram vinyl, housed in a gatefold sleeve. "Though its Rent-a-wreck homage to the Doors, the Mothers and Jimi Hendrix is immensely satisfying in a Teddy & His Patches sort-of-way, it wasn't the music on Outrageous which still leaves 21st century listeners gasping. No no no, the genius of this 1968 album is all contained in the dizzyingly portentous and truly whacked-out vocal delivery which Fowley chooses to foist upon us, And it's a delivery which, I might add, entirely pre-empted '70s Iggy Pop and must have (at least temporarily) kicked Jim Morrison's dick into the dust. And hearing the various members of Steppenwolf trying to keep up with Fowley's heart attack vocalese is mesmerizing in itself. And all this at a time when iconoclastic recording acts were commonplace enough to be almost expected." --Julian Cope
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