No More Good Time in the World for Me
In 1965 and 1966 Bruce Jackson visited Ramsey State Farm in Rosharon, Texas, where he recorded the remarkable epic songs of Johnnie B. Smith, a prisoner-composer doing a 45-year bid for the murder of his wife. Three of the recordings included on this two-disc set appeared on Ever Since I Have Been A Man Full Grown, an LP produced by John Fahey's Takoma Records in 1965. The other 15 -- traditional work songs and J.B.'s original pieces -- are issued for the first time. Folklorist Bruce Jackson was among the last to record work songs. He met Smith, prisoner #130196, during a 1964 visit to Ramsey State Farm. A native of Hearne, Texas, Smith was 46 years old and on his fourth prison term. In his younger days, Smith toted lead hoe in a flat-weeding gang and led the work songs. But he also sang other songs, different songs -- those he'd made up to occupy himself while chopping sugarcane or picking cotton. He referred to them as his "little ol' songs." The longest stretched to 33 verses, or more than 22 recorded minutes. Although Smith knew and sang a variety of melodies, to an assortment of work songs and sacred pieces, he employed only one tune for his compositions. What changed were the tempo and the ornamentation with which he individualized them. "The Major Special," "No More Good Time in the World for Me," "Ever Since I Been a Man Full Grown" -- each song Smith charged with its own emotional ambience, as a seasoned preacher intuits the particular colors and atmospheres that should imbue each portion of his service. Smith was paroled in 1967, a year after his final session with Jackson. That summer, Jackson arranged for him to sing at the Newport Folk Festival, at which he appeared on stage with Pete Seeger, and, in one of the only photos that survives of him, in the company of Robert Pete Williams and Muddy Waters. No More Good Time in the World for Me includes 18 remastered recordings, 15 of which are previously unreleased, and is presented in a digipak with a 36-page booklet containing liner notes by Nathan Salsburg (curator of the Alan Lomax Archive), full lyric transcriptions, and never-before-published photographs of J.B. Smith. Produced by Nathan Salsburg and Lance Ledbetter, founder of Dust-to-Digital.
Musique de film imaginé (music for film imagined) is a soundtrack that pays homage to the great European film directors of the late '50s and '60s, such as François Truffaut and Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of The Brian Jonestown Massacre for an imaginary French film. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of western rock and roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members and numerous ups and downs later (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe. The Brian Jonestown Massacre returned to wide acclaim in May of 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), the first of the band's albums to be fully recorded and produced at Newcombe's recording studio in Berlin. Also recorded in Berlin, Musique de film imaginé features vocals from French chanteuse and multi-instrumentalist SoKo and Italian actress, singer, and director Asia Argento. SoKo is signed to Because Music and her track "We Might Be Dead by Tomorrow" was featured in the viral video "First Kiss," which has garnered over 63 million views; the track debuted at number 9 in the Billboard Hot 100 in 2014. Argento, who has starred in music videos for Marilyn Manson, Placebo, and Tim Burgess, wrote the storyline for A$AP Rocky's 2013 cinematic music video "Phoenix," which has had over 5.5 million hits. Both vocal performances are in French. Newcombe recorded this daring symphonic experience in August 2014 after a successful European tour with The Brian Jonestown Massacre. Newcombe describes the work as "a soundtrack, my own creation, a tribute to great directors and filmmakers [and] to an era that now seems to be behind us. Leaving the smart person to care to imagine that this art could now be in the shadow of its former glory. The interesting thing about this project is that the film does not exist either. Even so, I imagined and I realized its soundtrack... Now it's your turn, you are the listener to imagine the film."
Pressed on 180-gram vinyl. Cien Fuegos presents a reissue of Pakistani Pomade by the Schlippenbach Trio, originally released on FMP in 1972. Evan Parker: soprano and tenor saxophone; Alexander von Schlippenbach: piano; Paul Lovens: drums. Recorded by Dietram Köster in November 1972, Bremen. Artwork by Benjamin von Schlippenbach; layout by Peter Brötzmann.
"In collaboration with Nigel Cross's Shagrat label, and Glenn's own Snow Star concern, Feeding Tube is tickled to release the 40th Anniversary Deluxe edition of Glenn Phillips's first album released under his own name, Lost at Sea. Originally issued by Snow Star in '75, then licensed by Virgin in the UK, after Peel started playing it, LAS has long been a favorite of people of true refinement. Glenn had joined the legendary Hampton Grease Band while still in high school. He played with them their whole six-year span, and was a key component of the sound on their sole album -- the sprawling Music to Eat (which should be part of everyone's collection). Following the dissolution of the Grease Band, and some additional personal troubles, Glenn decided to record LAS at home, using his working live band of the moment. The results were amazing. Glenn had always been able to conjure up flash for his solo spots with the Grease Band, but the playing here rose to a whole new level. The album is one of the best homemade prog LPs of the era. Hints of McLaughlin, Zappa, and Duane Allman all manage to coexist in an instrumental jungle that is dense, angular, and boss. Packed inside the original fantasy art sleeve, now a heavy-duty Stoughton gatefold with pics and notes by Glenn and Phil McMullen (of Ptolemaic Terrascope), this new set has also grown an extra LP. The music is of a piece, and a truly excellent expansion of this singular album. It was a long time coming, but we think it was worth the wait. Dig fast, they won't last" --Byron Coley, 2015. Limited edition of 500.
LP version on 180 gram vinyl, with download code. Ba Power, Bassekou Kouyaté & Ngoni Ba's fourth album (and their first for Glitterbeat Records) is a striking, career-defining record marked by mesmerizing songs, razor-sharp riffs, and full-throttle emotions. Following two years of worldwide touring for the much-heralded Jama Ko (OH 021CD/LP), Bassekou's band, Ngoni Ba, has turned up the volume and dynamics significantly and Bassekou's masterful ngoni playing has achieved a new level of intensity that can only be called: Afro-rock. Distortion and wah-wah and propulsive rhythms now form the defining backbone of his songs and the white-hot vocals of his wife, Amy Sacko, serve more than ever as his passionate and perfect foil. When asked what Ba Power means to him, Bassekou replied, "'Ba,' in Bambara, means 'strong' or 'great' and it also means 'group.' I called the album Ba Power because I think the messages on it are very important and strong, and it is also definitely the album with the toughest sound I've ever made. I want these songs to grab as many people as possible." Ba Power was recorded in November of 2014 at MBK Studios in Bamako, a studio just down the road from the Kouyaté family home in the hills at the edge of the city. Produced by Chris Eckman (Tamikrest, Aziza Brahim), the album began with Ngoni Ba playing together live in a relaxed, intimate space. Features appearances from legendary Songhai blues guitarist Samba Touré on "Fama Magni," soku master Zoumana Tereta on "Fama Magni," vocalist Adama Yalomba "Waati," massively influential composer and trumpeter Jon Hassell on "Ayé Sira Bla," guitarist Chris Brokaw (The Lemonheads) on "Siran Fen" and "Abé Sumaya," and drummer Dave Smith (JuJu, Fofoulah, The Sensational Space Shifters with Robert Plant) on four songs including opener "Siran Fen." Ba Power contains all the swagger, precision, and wide-eyed excitement that the title implies. It is the album on which Bassekou's music engages with the world in unprecedented ways, and the album with which he confirms his status among the 21st century's most relevant musical artists. "I think African music and culture deserve to be spread to the broadest audience possible. That is what I want to accomplish with Ba Power" --Bassekou Kouyaté. Bassekou Kouyaté: lead ngoni; Abou Sissoko: medium ngoni; Mamadou Kouyaté: bass ngoni and backing vocals; Moctar Kouyaté: calebash; Mahamadou Tounkara: yabara, tamani, tamaba; Bina Diabaté: medium ngoni ba; Amy Sacko: lead vocal and backing vocals. Housed in a gatefold sleeve.
The fourth collaboration between Nurse With Wound (Steven Stapleton) and Graham Bowers. Physically: a mutation occurs when a DNA gene is damaged or changed in such a way as to alter the genetic message carried by that gene. Mentally: anything goes. A continuous musical track in six sections. Stapleton's artworks were a result of a conversation with Bowers, in which the phrase "the lunatics are running the asylum" slipped out.
LP version. Room40 presents a reissue of Australian sound artist Lawrence English's acclaimed 2011 album The Peregrine, inspired by John Alec Baker's 1967 nature writing classic of the same name. "I first discovered The Peregrine when I was visiting my friend David Toop in London. He had the book on his desk and I picked it up and randomly turned to a page. It was an exquisite description of an Owl silently hunting. I was struck by the detail and evocative sense of listening in the writing. It was as though I was there experiencing that moment through the author's ears. I turned to another page and before I finished that paragraph I was sold. I ordered The Peregrine and was reading it avidly days later. Since that time I have spent a good deal of time with that book and J.A. Baker's only other text The Hill of Summer. I've purchased in excess of 100 copies of The Peregrine, gifting them to fellow musicians and artists who visit and occasionally sending them to people who I felt might relish the book. Most infamously I suppose is my sending the book to Werner Herzog, who I was introduced to by my friend Douglas Quin. Herzog loved the book and now includes it as essential reading in his film school. For me, The Peregrine captures a very special turning point in the 20th century. It marks a recognition of the role humans play in shaping their environment. Without ever addressing the topic directly, Baker's misanthropic, almost nihilistic reading of modern life pinpoints many issues that have come to a head in contemporary society. For a character we never learn very much about, Baker's voyeur of the falcons is a surprisingly engaging figure. As the reader we become him, we live through his textual renderings of time and place. Ultimately, through this ghost of a character, we become the bird in what Herzog so perfectly called a 'quasi-religious transubstantiation' -- reader into author into bird. This book changed my life. So much so that I felt it necessary to make a record about it and find some small way to respond to what is, in my opinion, one of the finest literary outings of the 20th century. I hope you can find some space in which to experience both the book and this record." --Lawrence English, January 2015
"Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. No other artist has performed in the world premieres of Terry Riley's 'In C,' Steve Reich's 'Drumming,' and Philip Glass's 'Einstein on the Beach,' three major works that changed the course of musical history. While his expertise on woodwind instruments made Gibson a go-to collaborator in Reich's, Glass's, and La Monte Young's ensembles, less known are his remarkable contributions as a composer and visual artist. Visitations, Gibson's first release under his own name, originally appeared on the Chatham Square imprint in 1973. Inspired by the books of Carlos Castaneda, Gibson departs from the structured repetition of his minimalist peers and takes the listener on an aural journey -- spanning organic field recordings, ambient flutes and synthesizers, and free-flowing textures. Visitations' two side-long tracks are at once solemn and unsettling, making this an astonishing debut that firmly establishes Gibson as a pioneer in his own right. This first-time vinyl reissue is recommended for fans of Cluster, Harold Budd, and Phill Niblock."
Limited to 400 copies. This ten-LP box set, presented in a deluxe book-like folder in an outer box, covers half a lifetime in musical history. It is more than a regular retrospective; it shares Pierre Henry's personal listening, organized by theme and technology. The box set emphasizes previously unpublished works, and highlights comparisons and contrasts between them. This ultimate anthology covers the first 35 years in the career of the French mastermind of electronic and electroacoustic music, the avant-garde, and musique concrète, enhanced by careful remastering and restoration in correspondence with the artist's intention and approach to the recordings. Transparency, detail, and logical history are the substance of this release.
Lali Puna meets the Korean band Trampauline. In the beginning there was just the plan to do a tour together Germany in January and then Korea in February 2015. At one point both bands thought the same: Let's see what happens if we start to exchange some culture before the tour. So finally many files were sent back and forth with two songs getting finished: "Machines Are Human" features the voice and text of Hyosun Cha, singer of Trampauline. A love song, In 2014 machines are more human than humans. You can see Spike Jonzes Her waving at you. "Mary Maloone", however, is a typical Lali Puna piece with the voice of Valerie Trebeljahr. Based on a beat by Trampauline, Valerie is telling the nightmarish story of Mary, who is working out her soul for her lordship while infecting them with typhoid fever.
After supporting Goat and The Brian Jonestown Massacre on their 2014 European tours, Les Big Byrd present Stockholm Death Star, recorded in the band's own studio in Sweden's capital. Trippy space-rock over pulsating motoric, with a strong feel for melody. Produced during the dark months of the Scandinavian winter, the music still has an ethereal light glimmering through the blissfully stoned vocal harmonies and chiming twelve-string guitar riffs. Three of the tracks have the band's typical, almost danceable groove, before the spaced-out "Vapour R.I.P" ends in an uplifting crescendo with fuzz guitars and mellotron strings.
No doubt Wovenhand is one of the most intense contemporary American bands in existence. Bang! Records presents the first vinyl edition of Wovenhand's 2002 debut self-titled album. This is the very first effort by David Eugene Edwards after 16 Horsepower -- the start of a new era in his musical career, diving into foggy and shady passages of folk and blues. Take a walk on the darkest side of American music. A mandatory album for fans of The Gun Club/Jeffrey Lee Pierce, Johnny Cash, Mark Lanegan, The Beasts of Bourbon, and Nick Cave & The Bad Seeds.
RSD 2015 release. Acclaimed musician Soko presents a 7" single featuring "Ocean of Tears," from her insolent 2015 sophomore album My Dreams Dictate My Reality, and a slow version. Soko's 2012 song "We Might Be Dead By Tomorrow," soundtrack to the video "First Kiss," has clocked about 100 million views, skyrocketed to the Top 10 of the Billboard Charts, and done about 11.5 million streams (No. 1 Debut On Streaming Songs).
"Feldman's last work, Piano, Violin, Viola, Cello, displays the qualities of the 'late style': complete mastery, utter assurance, and a kind of luminous melancholy. Like Palais de Mari, written a year earlier, it unfolds at a leisurely pace, with similar uses of repetition and recurrence, gentle rocking figures, and a somewhat restricted range. The measured unfolding of the material, without emphasis on dramatic contrast or large fluctuations in the rate of change, enables the listener to focus on the work's many subtle and beguiling details."
"One of reggae's most distinctive singers, Horace Andy has managed to sound as credible delivering social commentary as love songs. As one critic put it, 'The fragile, vulnerable qualities of his voice could invariably be relied upon to add dignity and sincerity to songs that, if performed by a lesser talent, would sound quite ordinary.' The proof is everywhere on this compilation."
2015 reissue of South African producer Felix Laband's 2005 album Dark Days Exit, released in advance of Laband's album Deaf Safari (COMP 470CD/LP). "Deaf Safari is an audio collage of subjects that interest me and speak of the world I live in. It is an album composed of sampled recordings from the media landscape that has been the soundtrack to my life over the last ten years. My musical influences on this album lie mostly with local Kwaito house. Deaf Safari is an experiment within certain boundaries of the 4/4 genre, to create my own South African 'house' album." Felix Laband is Pietermaritzburg-born, Durban-bred, and Cape Town-based. He thankfully took up computer music instead of surfing, and was in various guitar-based bands (including Fingerhead and Incurable) before having a solo piece included on the Koert Kotze en die Vrouekolonie CD in 1999. Laband's fiendish and phat foray into introspective electronics was highly promising and the highlight of a critically acclaimed project. He also had two notable inclusions on the excellent Sounds of the Durban Underground collection, and has released two albums on African Dope Records. He is celebrated like a star in South Africa. Dark Days Exit is deep; it comes from the deepest heart and reflects a fantastical sound-journey through strange land. As Laband told UK magazine Dazed & Confused, "South Africa is a land of weird contrasts which definitely comes through in my music. I'm not afraid to throw things around. A lot of European stuff is quite formulistic, people stick to a certain sound and a specific way of doing things. I try to throw that out of the window." Dark Days Exit, with its subtly puzzled-out electronica and sublime moody electro sounds, blends the artificial intelligence and sensitivity of electronica, indie pop, folk, post rock, and old school ambient with some warm jazz elements, while occasionally recalling French movie soundtracks. On the one hand, it approaches the works of Stereolab, The Notwist, Console, Plaid, and such; on the other hand, it truly recalls the old school Compost community as well. Many people compare the album to A Forest Mighty Black, Taran, or the classic Kruder & Dorfmeister releases (the duo loved the album from the very first note and gave it rave reviews). Indeed, it's got a little bit of everything, but self-contained enough to be one of the most outstanding albums of 2005.
"Corrected Slogans was first pressed by Art & Language and The Red Crayola in 1976; it was the first mention of the The Red Crayola's name on LP since 1968. The only review it received at the time was by Glenn O'Brian in Interview magazine; his response was a positive one, though he found the material ironic. By the time the album was made available to the public, it was clear that The Red Crayola would continue with Jesse Chamberlain joining Mayo Thompson. This was the start of five years of steady activity. Corrected Slogans was repressed on the UK label Recommended Records in 1981. Drag City reissued it for the first time on CD in 1997."
Echo Beach presents the first vinyl edition of William S. Burroughs in Dub, originally released on CD in 2014 (EB 100CD). LP features eight tracks from the CD release, and includes the CD itself, with all 15 tracks. Limited edition of 500 copies, paginated and numbered. Since their 2006 debut album Nitro, the Swiss band Dub Spencer & Trance Hill have impressed press and audiences alike with their passion for playing, their sure instinct for sounds, their equally humorous and respectful dubification of popular hits (including Metallica's "Enter Sandman") and their immense technical skill. Riddim heard "a new soundsphere where typical fat, stoic dub beats contrast with hand-played instruments and experimental sounds." Jazzthetik praised the "fantastically tight band, formidable interior dynamic and supremely competent mixdowns." Jazzthing wrote that "their psychedelic dub sound, which is occasionally interspersed by Western guitar riffs and true rock solos, sounds wonderfully acoustic and analog." And The Wire had to admit that "it sounds cheesy and it shouldn't work, but it does." Their other work includes the Clash tribute album The Clashification of Dub (EB 081CD/LP), plus a live album and a remix compilation with selective dubs by Victor Rice from São Paulo, Brazil. This release celebrates William S. Burroughs and pays tribute to his 2014 centenary, marking a new pop-cultural highlight in their work. With the official support and assistance of the William S. Burroughs Foundation in the United States, the band has succeeded in creating a heavy, ambient masterpiece in 15 chapters. They roll through dub landscapes full of heavy reggae grooves and extraterrestrial electro sounds, carried by pumping basslines with hypnotic power that clears the pathway to the center and gently caresses the stomach. Above the dragging, instrumental reggae cut-ups that gently drift into psychedelic territory, the artfully diluted grooves, breaks, and virtuoso hints, and the majestic slowness of the two riddims, rises the voice of William S. Burroughs, groundbreaking novelist, wanderer between worlds, junky supreme, and counter-cultural icon. His distinctive voice meets craggy soundscapes, harsh guitar chords, and an acerbic Hammond organ that play off against each other in the mixing desk. Drenched in echo, the sounds on this dub treatment contravene the rules of space and time, leaving behind a wonderful feeling of confusion in which listeners can relax and respectfully accompany the soul of their travelling companion William S. Burroughs on the path to eternity -- a highly addictive sound experience.
LP version. Includes download code. "No click tracks, no headphones, and no film. Just the spontaneity of performance and the sound of musicians hearing, connecting, and responding." Michael Price's first work as a composer was for contemporary dance choreographers, after which he worked as Michael Kamen's assistant on the score for Event Horizon (1997). Price has since been a part of many film score projects. He describes his 2013 string quartet EP A Stillness (ERATP 047EP) as "a cathartic and inspiring experience... I saw that here were people with clear sight and great ears creating a musical family, which seemed far removed from the compromises of the commercial mainstream. And yet bringing beautiful, intelligent, forward looking music to a similarly thoughtful audience." Price follows that release with Entanglement, his debut full-length album and the fulfilment of his long-held desire to explore new musical territories. It features Price on piano, with cello, soprano voice, string orchestra, modular synth, tape effects, and electronics. The cello and soprano vocal parts were written specifically and directly for cellist Peter Gregson and vocalist Ashley Knight, whose expressive voice features on tracks "Maitri" and "The Uncertainly Principle." The lyrics for both songs are Japanese poetry sung in English, dealing with age, loss, and the inevitable fading of beauty. Other elements include street sounds from Budapest captured and processed on Price's mobile phone, as well as chamber music recorded direct to tape with vintage microphones in single takes. "The Attachment" was partly recorded onto a 1940s magnetic disc recorder. Price describes the album's conceptual foundation: "Entanglement is a very personal expression of my obsessions: music, love, physics, and the inter-connectedness of things. There is structure and freedom, chaos and control, and the beauty of ancient instruments set against impassive machines... I wanted to make an album that sounded like a dark, Berlin record store discovery from the '30s. Something that had timeless emotive power, and pre-digital rawness. Something that I hope would make a deeper connection in superficially networked times. I think there is a duty for artists to be honest, and vulnerable. Because then there is a possibility of real connection. Entanglement is both honest and vulnerable and to go through the two-year process of writing, refining, and recording an album has been more intense and more beautiful than I could have possibly imagined" --Michael Price. Recorded and mixed at Vox-Ton, Berlin.
RSD 2015 release. LP pressed on 180-gram vinyl and presented in gatefold sleeve with download code; limited to 1500 copies. Taksera (which in Tamashek means "a celebration with music") is a rough and ready live album that is sure to give a jolt to Tuareg rock group Tamikrest's already heady reputation. Recorded on a summer festival stage during their 2014 Chatma (GB 007CD/LP) tour, the album vividly showcases the visceral and improvisational power of the band. The hypnotic grooves of the songs are blissfully extended, and the band's signature drive and electric guitar telepathy are pushed up front and center. The material on Taksera visits all three of the band's acclaimed studio albums and gives a sharply focused argument as to why Tamikrest is one of the most lauded young bands from the African continent. Their 2013 album Chatma reached the number one position on the World Music Charts Europe and graced year-end best-of lists at Uncut, Mojo, Les Inrocks, and The Quietus. Songlines went even further and gave them its "Best Group Award" for 2013. Taksera was engineered and mixed by Jean-Paul Romann, who has produced seminal albums by Tuareg music legends Tinariwen and Terakaft. The album was recorded at the Burg Herzberg Festival in Alsfeld, Germany, on August 1, 2014, and is in every way the celebration that its title promises. It energetically underlines Tamikrest's unique cultural mission and their commitment to explore new possibilities for Tuareg music. It shows a band full of hard-earned confidence and swagger; a band in love with turning up their amps and letting it rip.
Aural Rage is the work of Danny Hyde, producer and remixer of Coil, Nine Inch Nails, Psychic TV, Depeche Mode, and many others. The project features the late John Balance and Peter Christopherson aka Coil. Danny Hyde has worked since the early '80s as a sound engineer, and contributed many unique sounds to Coil's legacy, producing their legendary albums Horse Rotorvator (1986) and Love's Secret Domain (1991). Coil lovers know that Hyde was a something of a secret member for the group. On A Nature of Nonsense, his debut album, synthetic strings, programmed rhythms, shuddering MDMA-filtered beats, acid gurgles, and insect buzzes are everywhere. It's a successful attempt to combine a touch of dark and a pinch of humor, to broaden Hyde's industrial-tinged electronica. In a way it really sounds like a legendary lost Coil album. File under: electronic/industrial/Coil/NIN.
"The string of albums Culture recorded during the late '70s contained some of the most reliably solid sets from the tail end of reggae's roots era. These early releases for the production team of Joe Gibbs and Errol 'E.T.' Thompson yielded the group's finest work? The typically excellent assembly of session men respond to such material with an appropriately light touch: the exemplary rhythm work of keyboardists Ansel Collins and Earl Lindo and guitarist Willie Lindo is kept under close watch by the great Sly Dunbar. The drummer's playing is effortless as he alternates the makeup of a particular pattern or subtly changes up the rhythm, heading into a chorus. Closer attention to the backing for tracks like 'Behold,' 'Tell Me Where You Get It,' and 'Vacancy' reveals the sort of strength, though subtle, that drives the best roots music." --All Music Guide
This started out as a Grounation Day drumming session above the old headquarters of The Mystic Revelation of Rastafari, in Wareika Hill, Kingston, JA. Four funde, a repeat, and a bass drum. Back in London, contributing flute and guitar, Kenrick Diggory unbottled the deep rootical psychedelia and sheer awe of "Hunting" -- the Keith-Hudson-versus-Count-Ossie wonder of the world -- and Tapes added electronics, a shot of "Drum Song"... and a giddily intense binghi dub. Total murder.
2015 repress, originally reissued in 2009. Killer obscure Afro-funk album from an unknown Cameroonian bass player and lead singer. Recorded at EMI Studios in Lagos, Nigeria, in 1978, the sound definitely echoes the American soul funk scene, while mixing it with deep Afro harmonies, a great horn section, and tremendous percussion. A few tracks have been bootlegged since its original release, but this is the first complete reissue of this rare gem. Remastered sound.
RSD 2015 release. Linval Thompson, although known for his production work in the reggae field, actually began his musical career as a singer. His distinctive chant-like vocals are spread over a catalog of roots lead tracks that sometimes can get overlooked. Dreadlock Sessions, a limited-edition vinyl-only release, focuses on that material. So sit back and enjoy Linval Thompson's Dreadlock Sessions where vocal meets version... Respect.
Songs From Suicide Bridge CD
Songs From Suicide Bridge 2LP
The Art Of The Improvisers LP
White Glove Test: Louisville Punk Flyers 1978-1994 Book
King of the Delta Blues Singers LP
The Avant-Garde (180 gram) LP
The Hexadic System Playing Cards CARD SET
Lost at Sea (40th Anniversary Deluxe Edition) 2LP
Chicas Vol. 2: Spanish Female Singers 1963-1978 CD
Edit Service 001 - Special Delivery 12"
Thai Pop Spectacular (1960s-1980s) 2LP
Piano, Violin, Viola, Cello CD
Choix d'oeuvres de 1950 à 1985 10LP Box
Leave No Star Unturned: Cambridge January, 1972 2LP
In Dub (Conducted by Dub Spencer & Trance Hill) LP+CD
Trout Mask Replica (180 gram) 2LP
Old Waldorf, San Francisco, 31 January 1978 CD
Live At Golden Pudel Club LP
Musique de film imaginé CD
Cántame Esa Canción Que Dice, Yeah, Yeah, Yeah LP
Kolor EP (incl. Carl Craig Remix) 12"
Nirvanating Nervesounds LP
Devin And Gary Go Outside! LP
Orchestra Works Vol. 3 CD
The First and Second Side of the Mystic Synth 2LP
The First and Second Side of the Mystic Synth 4LP BOX/7"
Mutation ...The Lunatics Are Running the Asylum... CD
Los Angeles, 26 January 1995 CD
Time Capsule (1980-2015) LP BOX
Contest for Supremacy 12"
You Have Reached Your Destination LP
Whales Part 1 & Part 2 12"
Mollah the Machine Remixes 7"
The Syntape Years 1981-1983 5LP BOX
All part of growing up LP
My Father's Place, Old Roslyn, NY, September 8th 1978 3CD
Amazing Grace Coffee House Evanston, IL 15 May 1975 CD
Streichquartette 1997-2011 2CD
Plainsound Counterpoint/Mirror CD
No More Good Time in the World for Me 2CD/BOOK
Sounds from the Far East CD
Live at the Palomino, North Hollywood, June 8th 1969 2CD
Outside the Great Circle, Where Purgatory Ends LP/DVD
Los Caprichos de Goya LP+CD
Los Caprichos de Goya LP+CD
A Career in Dancing - Abstraction Years 1979-81 5LP BOX/10"