Browse by Label: MARINA (GERMANY)

Artist:	VA
Title:	Caroline Now! The Songs of Brian Wilson and the Beach Boys
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 050CD

Originally released by Marina in 2000, Caroline Now! celebrates the songs of Brian Wilson and The Beach Boys with a main focus on their lesser known gems including previously unissued compositions. It features exclusive contributions by such eminent Wilson-o-philes as Alex Chilton, Teenage Fanclub's Norman Blake, Kim Fowley and Belle & Sebastian's Stevie Jackson. Most of the tracks appear in quite different sounding reworks. Highlights include The High Llamas' electronic version of "Anna Lee The Healer" and Saint Etienne's sparse "Stevie." The legendary '60s group The Free Design specially reformed for this occasion with their first recording in 30 years. The 24-page booklet features extensive liner notes, an exclusive Brian Wilson interview and many rare photographs. Get ready for some good, good vibrations!

Artist:	FREE DESIGN, THE
Title:	Cosmic Peekaboo
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 052CD

Originally released in 2001, this release saw the return of one of the most idiosyncratic and original groups from the sixties: The Free Design -- cited as a main influence by artists like Stereolab (who named an entire EP after the group), The High Llamas, Saint Etienne and Cornelius (who reissued their sixties recordings on his own Trattoria label). The group recorded seven albums between 1967 and 1973, and originals of these albums are now extremely sought-after. Free Design main man Chris Dedrick agreed to a one-off reformation in 2000 to contribute to the Marina compilation of Caroline Now! The Music of Brian Wilson and the Beach Boys. This led directly to a full-scale reunion, and Cosmic Peekaboo presented the first new material by The Free Design in almost 30 years. Performed by the original line up that recorded their 1967 debut album Kites Are Fun, Cosmic Peekaboo is a complex masterpiece of unique beauty, abstract vocal harmonies and truly unusual arrangements of all new original songs. Over 30 years, The Free Design remain separate from the pack with a completely unique artistic vision. Cosmic Peekaboo is as heavenly and artful as pop can be.

Artist:	FREE DESIGN, THE
Title:	Cosmic Peekaboo
Label:	MARINA (GERMANY)
Format:	LP
Price:	$14.50
Catalog #:	MA 052LP

LP version. Originally released in 2001, this release saw the return of one of the most idiosyncratic and original groups from the sixties: The Free Design. The group recorded seven albums between 1967 and 1973, and originals of these albums are now extremely sought-after. F Performed by the original line up that recorded their 1967 debut album Kites Are Fun, Cosmic Peekaboo is a complex masterpiece of unique beauty, abstract vocal harmonies and truly unusual arrangements of all new original songs. Over 30 years, The Free Design remain separate from the pack with a completely unique artistic vision. Cosmic Peekaboo is as heavenly and artful as pop can be.

Artist:	VA
Title:	Ave Marina - Ten Years of Marina Records
Label:	MARINA (GERMANY)
Format:	2CD
Price:	$18.00
Catalog #:	MA 060CD

Marina celebrates its 10th anniversary with the release of a special double CD and a special limited triple vinyl edition. Marina Records is well known for albums like Caroline Now! The Songs Of Brian Wilson And The Beach Boys and Shack's classic masterpiece Waterpistol. The label also released celebrated anthologies by two of the most influential British bands, Josef K and The Pale Fountains, a compilation of the essential works by German film music legend Peter Thomas and the acclaimed comeback album by legendary '60s group The Free Design. Other well-known acts from the Marina stable include The Pearlfishers (one of Marina's bestselling acts in the course of four albums) and the solo debut by Orange Juice founding member James Kirk. All Marina acts are featured on Ave Marina, plus a number of friends and special guests like Edwyn Collins, Tahiti 80, Van Dyke Parks and Kim Fowley. Among the 38-tracks are selected nuggets from the Marina back catalogue as well as many exclusive contributions recorded especially for this set. The compilation comes in a beautiful 2CD digipak (with a fat multi-coloured booklet) and as a limited triple vinyl edition. Both sets feature many many photographs and info on the label history.

Artist:	DER PLAN
Title:	Die Verschw�rung
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 061CD

Originally released in 2004, this was Berlin-based Der Plan's triumphant return after 15 years in hiatus. Der Plan is one of the most influential German bands, and pioneers of German '80s electronica/avant garde pop. Their legendary debut album Geri Reig from 1980 paved the way for a whole new musical style and movement -- the "Neue Deutsche Welle" (New German Wave) -- which brought the world D.A.F. and Einstuerzende Neubauten. Der Plan had also been very influential on the international music scene: obviously some of Britain's more daring synthie pop bands of the '80s were inspired by them, but also electronica acts like Mouse On Mars and To Rococo Rot. Die Verschw�rung (The Conspiracy) features 15 tracks including a stunning electro interpretation of the famous German children's poem "Dunkel Wars." Other highlights include "Hohe Kante," and the catchy "Copyright Slavery," recorded with a full children's choir. The album continues their distinctive electronica sound with simple and catchy melodies often showcasing a unique child-like quality, radical humor and wit. The album was recorded with vintage analog keyboards and sequencers, continuing the original Plan sound of the early '80s.

Artist:	PEARLFISHERS, THE
Title:	A Sunflower At Christmas
Label:	MARINA (GERMANY)
Format:	CD
Price:	$11.00
Catalog #:	MA 063CD

Originally released by Marina Records in 2004. Reviving a good old pop tradition, this Glasgow pop band produced an entire mini-album of exclusive Christmas songs. This record -- the band's fifth for Marina -- features seven original compositions by main Pearlfisher David Scott and a lovely treatment of the Christmas classic "Away In A Manger." "Snowboardin'" kicks off the trip into a winter wonderland -- an uplifting Beach Boys-ish groover full of festive joy. Drenched in sleighbells, glockenspiel and backing vocals, it makes you wanna slide down snowy hills. "Winter Road" is a beautiful Christmas tale of hope in dark times, and one of the strongest Pearlfishers songs yet. "Blue December (In The City)" is a piano-based ballad with a great intro and a beautiful late night vibe -- Cole Porter meets Paul McCartney. Picking up the tempo, "Snow Plus Christmas" introduces party-vibe bass drum pumps, and "Ice Race" is pure ba-ba-ba heaven featuring great Swingle Singers-like vocal harmonies. "The Snow Lamb" and "Away In A Manger/A Sunflower At Christmas" close the record in a more introspective mood. Both tracks feature intricate arrangements and multi-layered vocals -- each listen revealing beautiful new details: "The Snow Lamb" has an almost Bach-like quality to it -- built on a repetitive enchanting rhythm pattern. After you've listened to this, you really believe it's Christmas... snowmen may have a meltdown.

Artist:	PEARLFISHERS, THE
Title:	A Sunflower At Christmas
Label:	MARINA (GERMANY)
Format:	LP
Price:	$11.00
Catalog #:	MA 063LP

LP version. Originally released by Marina Records in 2004. Reviving a good old pop tradition, this Glasgow pop band produced an entire mini-album of exclusive Christmas songs. This record -- the band's fifth for Marina -- features seven original compositions by main Pearlfisher David Scott and a lovely treatment of the Christmas classic "Away In A Manger." "Snowboardin'" kicks off the trip into a winter wonderland -- an uplifting Beach Boys-ish groover full of festive joy. Drenched in sleighbells, glockenspiel and backing vocals, it makes you wanna slide down snowy hills. "Winter Road" is a beautiful Christmas tale of hope in dark times, and one of the strongest Pearlfishers songs yet. "Blue December (In The City)" is a piano-based ballad with a great intro and a beautiful late night vibe -- Cole Porter meets Paul McCartney. Picking up the tempo, "Snow Plus Christmas" introduces party-vibe bass drum pumps, and "Ice Race" is pure ba-ba-ba heaven featuring great Swingle Singers-like vocal harmonies. "The Snow Lamb" and "Away In A Manger/A Sunflower At Christmas" close the record in a more introspective mood. Both tracks feature intricate arrangements and multi-layered vocals -- each listen revealing beautiful new details: "The Snow Lamb" has an almost Bach-like quality to it -- built on a repetitive enchanting rhythm pattern. After you've listened to this, you really believe it's Christmas... snowmen may have a meltdown.

Artist:	ASHBY
Title:	Looks Like You've Already Won
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 064CD

Originally released in 2005, this is the second record from Boston-based indie pop duo Ashby. A follow-up to their critically acclaimed 2001 debut Power Ballads, this record expands their sound with intricate multi-layered arrangements, a shimmering widescreen production and great contributions from an array of guest musicians. The opening track "Anyone Anywhere" makes a bright start with a soaring Bacharach-esque horn riff punching out a crisp melody over warm layers of acoustic guitars and strings. Like many songs on the album, the atmospheric instrumentation is offset by hard hitting funky drums played by multi-instrumentalist Bill Cowie, one half of the duo. The icing on the cake is Evelyn Pope's pure, understated and floating voice that somehow manages to sound light and deep at the same time. Richly layered top-notch horn arrangements are a trademark throughout the album courtesy of arranger Jeremy Adelman. The pulsating "Mindset" is a rhythmic tour de force with an insistent backbeat and rolling bassline punctuated by fat vintage keyboards. Key guitar contributions from L.A. session ace John Dragonetti are found all over the album, from the driving electrified rhythm of the soulful closing title track to the moody sway of the cinematic "Cloud Cover" with its John Barry style low flutes, stand up bass and atmospheric lyrics. Check the Brazilian styled '70s funk of "Getting Started" with its addictive groove and offbeat horns. Or the spikey woodwinds, groovy vibraphone and raw clavinet chop of "Troublemaker" featuring the stellar flute of New York City-based Brazilian arranger Z� Luis (Bebel Gilberto, Brazilian Girls, Ivy). The album closes with "He Likes The Sound," a song that contrasts a lush verse with a raspy, new wave disco style chorus and funky wah-wah guitars.

Artist:	PEARLFISHERS, THE
Title:	The Young Picknickers
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 065CD

"Re-release in a digipack with 3 bonus tracks. An ever-shifting Scottish group led by singer/songwriter David Scott, the only constant member, The Pearlfishers are a glorious soft pop band mixing acoustic-based music with subtle orchestral flourishes, rather like a Glasgow-based Prefab Sprout with a major Brian Wilson fixation. Since forming in 1989, The Pearlfishers have refined and broadened their sound while maintaining a steadily growing cult following. David Scott began writing songs while a teenager in Glasgow in the early '80s. In the summer of 1984, Scott played his earliest bedroom efforts to local musician Bobby Henry, who offered to put a pair of them on The Shift Compilation, an anthology of Glasgow bands released on Henry's own Shift Records. Released under the band name Chewy Raccoon, a joke name that stuck, the songs attracted enough attention that Scott and the band were signed to Shift's distributor, Phonogram, who released the group's sole single, 'Don't Touch Me,' in August 1985."

Artist:	VA
Title:	The In-Kraut: Hip Shaking Grooves Made in Germany 1966-1974
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 066CD

Marina Records proudly presents The In-Kraut -- twenty handpicked soul, beat, now sound, mod and soundtrack gems from Germany -- all recorded between 1966 and 1974. Among them many Kraut-pleasin' obscurities and long-forgotten nuggets that appear now for the very first time on CD. While the musical climate in Germany of the late '60s and early '70s was clearly dominated by horrible Schlagers, nevertheless, records of outstanding class were cut with Teutonic precision. Just check out "Gemini" by G�nter Noris, a stomping piano-led instrumental worthy of Ramsey Lewis. Or the proto-funk of Erwin Halletz "Das Stundenhotel Von St. Pauli" -- a tight soundtrack groover clearly inspired by James Brown. Or the elegantly sweeping "Naturally Stoned" by Helmut Zacharias with more than a trace of a brilliant John Barry arrangement, and the Blood Sweat & Tears-inspired "Molotow Cocktail Party" by Vivi Bach & Dietmar Sch�nherr. The guys behind these productions were usually slick jazz players and studio musicians from the tightest orchestras of the country. Somehow these middle-aged men knew how to move the Kraut and adapt their skills to the swinging sixties. Even Peter Thomas, one of Germany's best known film composers, chose to tackle The Stones' "Jumpin' Jack Flash," in very unique and mad fashion. And the man behind Memphis Black's ultra-rare breakbeat monster "Why Don't You Play The Organ, Man" is none other than Ingfried Hoffmann of the acclaimed Klaus Doldinger Quartet. Check out the truly smoking drugsploitation nugget "Marihuana Mantra" by Kuno & The Marihuana Brass, right alongside Werner M�ller's hilarious "Bodybuilding," an intoxicating sexy groover. And then there's Bill Lawrence's "Pussy Baby" -- a track that has to be heard to be believed. Even international stars like France Gall went Kraut-a-delic in the '60s. "Hippie Hippie," a bubbly "love and peace" ditty, was especially written and produced for the German market. Heidi Br�hl decided to update her sound, replete with a psychedelic guitar solo and a fantastic bassline. The In-Kraut was compiled and annotated by Stefan Kassel and Frank Jastfelder who also compiled two acclaimed Lalo Schifrin anthologies, several volumes of Universal's Get Easy! series, the Mad Mad World Of Soundtracks compilations, and retrospectives of the work of Gary McFarland, Horst Jankowski, Lee Hazlewood and other cool cats.

Artist:	VA
Title:	The In-Kraut Vol. 2
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 067CD

...Hip Shaking Grooves Made In Germany 1967-1974. Willkommen to the second installment of The In-Kraut, lovingly researched and assembled by Stefan Kassel and Frank Jastfelder, who also compiled the first volume. Once again we take a deep trip into the funky musical spheres of 1960s and 1970s Germany -- an undiscovered universe full of Hammond-heavy grooves, tight big band arrangements and fuzz guitar enhanced dancefloor nuggets. Dip into a motherlode of 20 rare soul, beat, now sound, mod and soundtrack gems -- most of them appearing for the first time on CD. While the musical climate in Germany of the late '60s and early '70s was still dominated by schlagers, many other records of outstanding class were being cut -- most of them never reached mainstream success, yet today these punchy tracks sound more "now" than ever before. Just listen to Hugo Strasser, Germany's first ambassador of swing, tackling Deep Purple -- with a truly rocking cover version of "Black Night." Or Hazy Osterwald Jet Set with a fabulous uptempo stomper sounding almost like acid jazz veterans Corduroy. Even James Last got funky once with his incredible "Soul March," a rare B-side from 1969 (finally rescued from oblivion here). Mary Roos, one of Germany's best vocalists ever, delivers a great German version of Jorge Ben's "Mas Que Nada." Another special treat is Hildegard Knef's psychedelic proto-rap. The guys behind these recordings were the best jazz, big band and studio musicians of the country. Paul Nero, who kickstarts the compilation is none other than German jazz legend Klaus Doldinger. Germany's best studio drummer Charly Antolini rocks the house with his breakbeat monster "Nofretete's Headache" -- a rare groove inferno. Hase C�sar's bouncy number was cooked up by Ingfried Hoffmann, one of Germany's best jazz pianists/organists. Even the legendary Can make an appearance here, with their very first recording -- a super-rare soundtrack 7" recorded under the name The Inner Space. Their trippy "Kamera Song" harkens to The Velvet Underground with spacy ersatz-Nico vocals supplied by Rosy Rosy, Munich's original it-girl and German �ber-groupie of the '60s. An added bonus are two superb, previously-unissued tracks: the sitar monster by Carlos Fendeira and the sexy "Do It Yourself" by German soundtrack legend Rolf Wilhelm (The Serpent's Egg). Kraut-a-delica.

Artist:	VA
Title:	The In-Kraut Vol. 2
Label:	MARINA (GERMANY)
Format:	2LP
Price:	$16.50
Catalog #:	MA 067LP

2006 release, repressed. Double LP version, deluxe gatefold jacket. ...Hip Shaking Grooves Made In Germany 1967-1974. Willkommen to the second installment of The In-Kraut, lovingly researched and assembled by Stefan Kassel and Frank Jastfelder, who also compiled the first volume. Once again we take a deep trip into the funky musical spheres of 1960s and 1970s Germany -- an undiscovered universe full of Hammond-heavy grooves, tight big band arrangements and fuzz guitar enhanced dancefloor nuggets. Dip into a motherlode of 20 rare soul, beat, now sound, mod and soundtrack gems. While the musical climate in Germany of the late '60s and early '70s was still dominated by schlagers, many other records of outstanding class were being cut -- most of them never reached mainstream success, yet today these punchy tracks sound more "now" than ever before. Just listen to Hugo Strasser, Germany's first ambassador of swing, tackling Deep Purple -- with a truly rocking cover version of "Black Night." Or Hazy Osterwald Jet Set with a fabulous uptempo stomper sounding almost like acid jazz veterans Corduroy. Even James Last got funky once with his incredible "Soul March," a rare B-side from 1969 (finally rescued from oblivion here). Mary Roos, one of Germany's best vocalists ever, delivers a great German version of Jorge Ben's "Mas Que Nada." Another special treat is Hildegard Knef's psychedelic proto-rap. The guys behind these recordings were the best jazz, big band and studio musicians of the country. Paul Nero, who kickstarts the compilation is none other than German jazz legend Klaus Doldinger. Germany's best studio drummer Charly Antolini rocks the house with his breakbeat monster "Nofretete's Headache" -- a rare groove inferno. Hase C�sar's bouncy number was cooked up by Ingfried Hoffmann, one of Germany's best jazz pianists/organists. Even the legendary Can make an appearance here, with their very first recording -- a super-rare soundtrack 7" recorded under the name The Inner Space. Their trippy "Kamera Song" harkens to The Velvet Underground with spacy ersatz-Nico vocals supplied by Rosy Rosy, Munich's original it-girl and German �ber-groupie of the '60s. An added bonus are two superb, previously-unissued tracks: the sitar monster by Carlos Fendeira and the sexy "Do It Yourself" by German soundtrack legend Rolf Wilhelm (The Serpent's Egg). Kraut-a-delica.

Artist:	VA
Title:	Disco Deutschland Disco: Disco, Funk & Philly Anthems
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 068CD

...from Germany 1975-1980. Welcome to Teutonic boogie wonderland, fellow disco citizens. Presenting 18 sparkling disco, funk & Philly anthems from Germany -- recorded between 1975 and 1980. While never appreciated by rock critics, disco is actually one of the few musical genres where German productions had a huge international impact and heavily influenced American and British recordings. It's finally time to get this documented and appreciated. Shying away from the obvious hits, Disco Deutschland Disco digs a bit deeper - with many tracks appearing on CD for the first time. Su Kramer kickstarts our party of German glitterball grooves with the anthemic "You've Got The Power" from 1976, previously only available on 7". There's Marianne Rosenberg's superb Philly-infused "Wieder Zusammen," which is pure mirrorball magic. Alfie Khan Sound Orchestra presents "Illegal Toys," featuring a proto-house riff ripe for sampling. Munich Machine was Giorgio Moroder's studio band that played on countless German disco recordings, and "Get On The Funk Train" is Moroder in excelsis -- featuring all the trademarks of his groundbreaking productions that still sound contemporary today. Germany's most successful disco-venture was Silver Convention, who hit the no. 1 spot in the U.S. charts with "Fly Robin Fly." Their high-octane "Love In A Sleeper" is a long-lost nugget from 1978. Next comes Supermax and Amanda Lear, who both perfectly capture the hedonism and glitz of coke-fueled disco nightlife. Bandleader Ambros Seelos delivers the white-hot, metallic "Gimmi More," featuring early traces of German electro. Soundtrack legend Peter Thomas smokes his way through super-funky "Opium," an irresistible disco monster from start to finish, while James Last scores with "Can't Move No Mountains," a great slice of jazzy disco. And even easy-listening god Berry Lipman went disco once: his steamy "Sex World" is the rare title theme of an X-rated porn flick. The most obscure entry on this compilation is by Schlager-star Christian Anders -- though best known for schmaltzy ballads, he also composed the score to martial arts B-movie Roots Of Evil. His "Running Away" is a killer funk workout with a bad-ass guitar part and a dead-on groove. Disco Deutschland Disco was compiled and annotated by Stefan Kassel who also compiled -- among other things -- the successful The In-Kraut compilations. So put on your platform shoes and boogie down to 100% fat-free dancefloor euphoria from Germany!

Artist:	VA
Title:	Disco Deutschland Disco: Disco, Funk & Philly Anthems
Label:	MARINA (GERMANY)
Format:	2LP
Price:	$18.00
Catalog #:	MA 068LP

Double LP version. ...from Germany 1975-1980. Welcome to Teutonic boogie wonderland, fellow disco citizens. Presenting 18 sparkling disco, funk & Philly anthems from Germany -- recorded between 1975 and 1980. While never appreciated by rock critics, disco is actually one of the few musical genres where German productions had a huge international impact and heavily influenced American and British recordings. It's finally time to get this documented and appreciated. So put on your platform shoes and boogie down to 100% fat-free dancefloor euphoria from Germany!

Artist:	PEARLFISHERS, THE
Title:	Up With The Larks
Label:	MARINA (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	MA 069CD

After an extended hiatus, Glasgow's The Pearlfishers return refreshed and improved with Up With The Larks, their sixth album for Marina Records -- the latest in a line of orch-pop masterpieces. The album is clear evidence that main Pearlfisher David Scott continues his unique musical journey with renewed joy and verve -- and that classic songwriting and well-crafted arrangements are alive and well in 2007. Joyous title track, "Up With The Larks" starts it off, rich with lush vocal harmonies, multi-layered guitar texture, the wild jangle of a battered upright piano and exquisite melodic twists and turns. Teenage Fanclub's Norman Blake co-produced four of the album's cuts, starting with "The Bluebells" -- a beautiful, string-laden rumination on the turning of seasons. "Womack and Womack" recalls Scott's early days running with the hawks of the major music industry and "Ring The Bells For A Day" is complete with the glittering Big Star chime of massed Fender Stratocasters. The Pearlfishers' 2006 Japanese tour with BMX Bandits is thrillingly recounted in "The Umbrellas Of Shibuya," a song which references Michel Legrand's classic movie opera, The Umbrellas Of Cherbourg, but locates itself in a Tokyo rainstorm -- with neon puddles, painted in Morricone banjos, Sakamoto synth blooms, Nilsson mouth music and, most tellingly, Scott's truly unique sense of melody and structure. Another highlight is the Randy Newman-esque "With You On My Mind," which sounds like a lost Tin Pan Alley classic arranged by Van Dyke Parks. "London's In Love" could be the theme song to an as-yet-to-be-made romantic comedy blockbuster, set in the "blue black air" of Britain's capital, full of promise and heartbreak. The Pearlfishers, firmly rooted in the classic tradition of three-minute cinematics as pioneered by Webb, McCartney and Rufus Wainwright, reach a great finale with the album's closing songs: "Blue Riders On The Range," a sparkling widescreen epic (sounding like Marvin & Diana doing Ram) and the gorgeous, pastoral "I Just See The Rainbow," which ends the album on an optimistic note.

Artist:	PEARLFISHERS, THE
Title:	The Umbrellas of Shibuya
Label:	MARINA (GERMANY)
Format:	7"
Price:	$5.50
Catalog #:	MA 070EP

The Pearlfishers proudly announce the release of the 7" single, The Umbrellas Of Shibuya, taken from their album, Up With The Larks. This 7" is strictly limited and available on white vinyl. "The Umbrellas Of Shibuya" takes its reference point from Michel Legrand's classic movie opera, The Umbrellas Of Cherbourg, but locates itself in a Tokyo rainstorm -- with neon puddles, painted in Morricone banjos, Sakamoto synth blooms, Nilsson mouth music and David Scott's unique sense of melody and structure. The B-side features the exclusive new track, "Clumsy."

Artist:	CASH, BRENT
Title:	How Will I Know If I'm Awake
Label:	MARINA (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	MA 071CD

The Marina label presents the debut release from Athens, GA-based Brent Cash. Sounding like a lost sunshine pop classic from the '60s, How Will I Know If I'm Awake is overflowing with hook-laden choruses, multi-layered vocal harmonies and lush, sophisticated arrangements. It's the sound of endless summers and good vibrations. From the start, multi-instrumentalist Cash decided to record his songs like "they did it back then," hiring the best musicians in town and assembling a mini-orchestra featuring strings, brass and even a harp. The results are simply stunning. From the opening chords of "Everything That's Grey," we enter melody wonderland, a place where major 7 chords rule and beautiful vocal harmonies dazzle your mind. "Digging The Fault Line" is full of Byrds guitar jangle, sounding like the perfect soundtrack to cruise into golden California sunsets (with a great Wes Montgomery-like guitar solo along the way). "Only Time" explodes with 100 % fat-free youthful euphoria -- Roger Nichols meets The 5th Dimension. While deeply rooted in '60s songwriting -- influenced by Bacharach, Wilson, McCartney, and yes, The Monkees -- Cash certainly has his own unique signature style. Just listen to "And Had We Ever?" and "I Think I'm Falling In Love" -- with its complex, enchanting textures, ignoring conventional song structures. "Love Is Burning Down Tonight" -- a striking duet between Brent and Amanda Kapousouz -- is a special highlight of the album, while "Good Morning Sunshine" could be the theme song to the best TV series in the world -- the harpsichord-driven piece is chock-full of amazing twists and turns of melodic beauty. "This Sea, These Waves" moves us into bossa nova territory -- starting off in a classic Getz/Gilberto mould, the song soon morphs into heavenly orchestrated Sergio Mendes & Brasil '66 elegance. "More Than Everything," clocking in at over six minutes, ends this beautiful song circle with a great final statement about overcoming heartbreak, delivered with the sincerity of a Carpenters record. Music made the way it was meant to be heard.

Artist:	VA
Title:	The In-Kraut Vol. 3
Label:	MARINA (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	MA 072CD

Guten Tag! Willkommen to the third and final installment of The In-Kraut. Once again, the Marina label takes you on a deep trip into the funky musical spheres of 1960s and 1970s Germany -- an undiscovered universe full of Hammond-heavy grooves, tight big band arrangements and fuzz guitar-enhanced dancefloor nuggets. Dip into a motherlode of 20 rare soul, beat, now sound, mod, jazz & soundtrack gems -- most of them appearing for the first time on CD, finally destined to move the Kraut. The In-Kraut Vol. 3 kickstarts with the incredibly switched-on "Glory Be" by Daisy Clan, a great mod stomper drenched in fuzz guitars and heavy percussion -- masterminded by German music biz legends Joachim Heider and Michael Holm. The party continues with Bavarian groove agent Ambros Seelos, a man who certainly knew how to cook up a groove. Super-fantastisch! This release also naturally features a couple of cool and unique cover versions. Dieter Zimmermann tackles Led Zeppelin's "Whole Lotta Love" orchestra-style -- adding a whole lotta fresh new twists and turns to the played-to-death rock classic. Inga rocks Sonny & Cher's "The Beat Goes On," and Katja Ebstein delivers a great "druggy" take on The Beatles' "A Hard Day's Night." Way out. Film music maestro Peter Thomas paints a crazy end-of-the-world scenario with the hilarious "The World Is Gone" and Hammond organ god Ingfried Hoffmann appears with two knock-out groove nuggets: "Stroke It" and the supremely funky "That's Me Boy" by his late '60s outfit Memphis Black. Trombone ace Peter Herbolzheimer strikes with his all-star killer big band Certain Lions & Tigers -- delivering a great, Latin-flavored version of "Fever." Rolf K�hn, one of Germany's most distinguished jazz musicians ever, calms us down again with the deliciously chilled-out "Playmate," featuring a great Fender Rhodes part, topped with strings. There's also Georgees' super-rare soundtrack nugget "Butterflies Never Cry," sounding like something taken directly from the score to Barbarella. The German Top Five's take on rare groove classic "The Champ" -- one of the most sampled tracks in hip-hop history -- is even more funky than the original. The In-Kraut Vol. 3 was assembled by Stefan Kassel and Frank Jastfelder. Three is the magic number. Other artists include: Gene Williams, The Rainbow Orchestra, Heinz Kiessling, Frank & The Top Ten, Adam & Eve, Hazy Osterwald Sextet, Acid and Karl Schiller.

Artist:	VA
Title:	The In-Kraut Vol. 3
Label:	MARINA (GERMANY)
Format:	2LP
Price:	$18.00
Catalog #:	MA 072LP

Double LP version. Guten Tag! Willkommen to the third and final installment of The In-Kraut. Once again, the Marina label takes you on a deep trip into the funky musical spheres of 1960s and 1970s Germany -- an undiscovered universe full of Hammond-heavy grooves, tight big band arrangements and fuzz guitar-enhanced dancefloor nuggets. Dip into a motherlode of 20 rare soul, beat, now sound, mod, jazz & soundtrack gems. The In-Kraut Vol. 3 kickstarts with the incredibly switched-on "Glory Be" by Daisy Clan, a great mod stomper drenched in fuzz guitars and heavy percussion -- masterminded by German music biz legends Joachim Heider and Michael Holm. The party continues with Bavarian groove agent Ambros Seelos, a man who certainly knew how to cook up a groove. Super-fantastisch! This release also naturally features a couple of cool and unique cover versions. Dieter Zimmermann tackles Led Zeppelin's "Whole Lotta Love" orchestra-style -- adding a whole lotta fresh new twists and turns to the played-to-death rock classic. Inga rocks Sonny & Cher's "The Beat Goes On," and Katja Ebstein delivers a great "druggy" take on The Beatles' "A Hard Day's Night." Way out. Film music maestro Peter Thomas paints a crazy end-of-the-world scenario with the hilarious "The World Is Gone" and Hammond organ god Ingfried Hoffmann appears with two knock-out groove nuggets: "Stroke It" and the supremely funky "That's Me Boy" by his late '60s outfit Memphis Black. Trombone ace Peter Herbolzheimer strikes with his all-star killer big band Certain Lions & Tigers -- delivering a great, Latin-flavored version of "Fever." Rolf K�hn, one of Germany's most distinguished jazz musicians ever, calms us down again with the deliciously chilled-out "Playmate," featuring a great Fender Rhodes part, topped with strings. There's also Georgees' super-rare soundtrack nugget "Butterflies Never Cry," sounding like something taken directly from the score to Barbarella. The German Top Five's take on rare groove classic "The Champ" -- one of the most sampled tracks in hip-hop history -- is even more funky than the original. The In-Kraut Vol. 3 was assembled by Stefan Kassel and Frank Jastfelder. Three is the magic number. Other artists include: Gene Williams, The Rainbow Orchestra, Heinz Kiessling, Frank & The Top Ten, Adam & Eve, Hazy Osterwald Sextet, Acid and Karl Schiller.

Artist:	VA
Title:	D-Funk - Funk, Disco & Boogie Grooves From Germany 1972-2002
Label:	MARINA (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	MA 074CD

D-Funk presents 30 years of Teutonic funk power -- 18 block-rocking and distinctively eclectic funk, disco & boogie nuggets from Germany that range from sweaty JB-styled grooves, cooking fusion gems, up-tight post-punk funk, to slick urban disco anthems. It may be an unknown and as-yet unexplored territory, but some Krauts certainly knew how to cook up a serious groove. Just take The Poets Of Rhythm and The Whitefield Brothers -- two groups from Munich that immersed themselves so deep into the rare grooves of James Brown's People label catalog that it became part of their DNA. Hamburg's Lee Armstrong Express and Augsburg's Twen are no less impressive, with stabbing horns, hard-poppin' drums and grinding organs. The earliest entry on the compilation hails from 1972 by �ber-drummer Charly Antolini and it's a funky break-beat feast. The same goes for "Kirschbl�te" by Veronika Fischer & Band -- originally only released as a 7" flip-side in 1975, sounding like The Commodores lost in Leipzig. Berlin's "No New York"-styled collective Zatopek (feat. Sven Regener of Element Of Crime fame) were driven by a great horn section and explore the same territory as Pigbag and James White & The Contortions. Family 5's (featuring ex-Fehlfarben punk demi-god Peter Hein on vocals) rare debut "Bring Deinen K�rper Auf Die Party" (1981) is a perfect piece of post-punk funk, and Fehlfarben's "14 Tage" ("14 Days") from 1982 includes a killer bass line worthy of Bernard Edwards. The discofied side of funk is represented by Ganymed and Discotizer & Supermax. Disco overlord Giorgio Moroder makes an appearance with his one-off project Stolen Property -- with a slow burnin', super-kool cover of "Low Rider" by War. Even Boney M. got funky once. The sophisticated fusion of James Last's "Bolero '75" could give Deodato a serious run for his money. Andy Minkacz & Orchestra score with a sexy Philly-Sound groover, and Herbert Rehbein is the man behind Su Kramer's totally unique space boogie "Magic Dance" (1978). Cheeseslider and Montana Chromeboy present pure uncut funk nuggets full of Larry Graham-styled slap bass and mad vocals. Get down, get involved, get d-funked. Compiled by Stefan Krassel and accompanied by detailed track notes and reproductions of all the original record sleeves.

Artist:	CASH, BRENT
Title:	How Strange It Seems
Label:	MARINA (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	MA 076CD

The Marina label presents the second release from Athens, GA-based Brent Cash. Brent Cash's widely-celebrated debut album How Will I Know If I'm Awake (MA 071CD/LP) was released in 2008. The multi-instrumentalist took the long gap to create an even more elaborately crafted follow-up. How Strange It Seems is chock-full of sophisticated arrangements, multi-layered vocal harmonies, extravagant key changes and intricate rhythms. From the start, Cash decided to record his songs like "they did it back then," so no costs were spared to hire the best players in town and assemble a mini-orchestra featuring almost 30 musicians. The resulting work sounds like a lost pop masterpiece from the '60s and '70s. Opening track "I Wish I Were A Song" -- which bookends the record -- is the song cycle's lavishly orchestrated overture featuring strings, horns, flutes, tympani and even a harp. It perfectly sets the mood and is extremely rich in detail, scope and color. It's followed by "It's Easier Without Her" which sounds like a straight-ahead '70s AM radio hit � la Todd Rundgren and America. With its infectious Burt Bacharach-like horn motif and a great harpsichord part, it seems like the perfect soundtrack to cruise into golden sunsets along the California coast line. "I Can't Love You Anymore Than I Do" takes us straight into TV theme territory. Riding on a funky bass line, wah wah guitar and stabbing strings, it could easily be the mischievous love child of The Rockford Files, Dallas and Shaft. You can virtually see the opening titles roll to these delicious sounds. A special feature throughout the album is vocal quartet The South City Voices. Their light and breezy flow adds a lovely dose of sunshine pop to tracks like "The Heart Will Always Work Alone" and "Just Like Today" -- evoking groups like The Free Design, The Swingle Singers and Roger Nichols & The Small Circle Of Friends. Title track "How Strange It Seems" is pure Brent Cash brilliance. It starts out as a West Coast singer/songwriter tune, and then gets propelled to new heights by a powerful Brill Building arrangement (even featuring castanets!) -- delivered with all the vocal honesty of a Carpenters record. Its lyrics cover one of the main themes of the album: heartbreak turns into a new beginning. The album comes to a conclusion with the epic "I Just Can't Look Away." Clocking in at nearly seven minutes, it is an amazing musical journey. Structured in several different sections -- like Jimmy Webb's "MacArthur Park" -- it takes you through a rollercoaster ride of a relationship, beautifully set to music in an extraordinarily detailed arrangement.

Artist:	CASH, BRENT
Title:	How Strange It Seems
Label:	MARINA (GERMANY)
Format:	LP
Price:	$17.00
Catalog #:	MA 076LP

LP version. The Marina label presents the second release from Athens, GA-based Brent Cash. Brent Cash's widely-celebrated debut album How Will I Know If I'm Awake (MA 071CD/LP) was released in 2008. The multi-instrumentalist took the long gap to create an even more elaborately crafted follow-up. How Strange It Seems is chock-full of sophisticated arrangements, multi-layered vocal harmonies, extravagant key changes and intricate rhythms. From the start, Cash decided to record his songs like "they did it back then," so no costs were spared to hire the best players in town and assemble a mini-orchestra featuring almost 30 musicians. The resulting work sounds like a lost pop masterpiece from the '60s and '70s. Opening track "I Wish I Were A Song" -- which bookends the record -- is the song cycle's lavishly orchestrated overture featuring strings, horns, flutes, tympani and even a harp. It perfectly sets the mood and is extremely rich in detail, scope and color. It's followed by "It's Easier Without Her" which sounds like a straight-ahead '70s AM radio hit � la Todd Rundgren and America. With its infectious Burt Bacharach-like horn motif and a great harpsichord part, it seems like the perfect soundtrack to cruise into golden sunsets along the California coast line. "I Can't Love You Anymore Than I Do" takes us straight into TV theme territory. Riding on a funky bass line, wah wah guitar and stabbing strings, it could easily be the mischievous love child of The Rockford Files, Dallas and Shaft. You can virtually see the opening titles roll to these delicious sounds. A special feature throughout the album is vocal quartet The South City Voices. Their light and breezy flow adds a lovely dose of sunshine pop to tracks like "The Heart Will Always Work Alone" and "Just Like Today" -- evoking groups like The Free Design, The Swingle Singers and Roger Nichols & The Small Circle Of Friends. Title track "How Strange It Seems" is pure Brent Cash brilliance. It starts out as a West Coast singer/songwriter tune, and then gets propelled to new heights by a powerful Brill Building arrangement (even featuring castanets!) -- delivered with all the vocal honesty of a Carpenters record. Its lyrics cover one of the main themes of the album: heartbreak turns into a new beginning. The album comes to a conclusion with the epic "I Just Can't Look Away." Clocking in at nearly seven minutes, it is an amazing musical journey. Structured in several different sections -- like Jimmy Webb's "MacArthur Park" -- it takes you through a rollercoaster ride of a relationship, beautifully set to music in an extraordinarily detailed arrangement.

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Artist:	THOMAS VS MAXWELL EXPLOSION, PETER
Title:	Opium
Label:	MARINA (GERMANY)
Format:	12"
Price:	$11.00
Catalog #:	MA 41

Artist:	VA
Title:	Caroline Now! The Music of Brian Wilson and the Beach Boys
Label:	MARINA (GERMANY)
Format:	2LP
Price:	$16.50
Catalog #:	MA 050LP