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Recent Best Sellers
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2LP
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MF 094LP
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2021 repress. "Back again on vinyl where it belongs, MF DOOM's 1999 classic Operation: Doomsday is now presented on a premium grade LP, with audio re-mastered from the original Fondle'Em Records release, and a poster of the album cover art! Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)'s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving front-man Zev Love X mutated into the MC Avenger known as MF DOOM and the rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol' Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, 'Rhymes Like Dimes,' Doom weaves some pointed lyrics through his abstract wordplay, spitting 'only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.' 'Who You Think I Am?' features DOOM's crew M.onster I.sland C.zars, while on '?' he trades hot verses with former Columbia artist Kurious Jorge. Doom's avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on 'Tick, Tick...' where he and guest MC MF Grimm's flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today's bland commercial rap universe, Operation: Doomsday's left-of-center beats and rhymes are the perfect remedy."
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SW 113LP
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Beautiful, fan-made album of acapella versions of The Beach Boys' Pet Sounds classics on one disc. Be able to hear and appreciate their intricate harmonies like never before. Sit back, close your eyes and have a listen to the isolated vocal tracks of one of the greatest albums ever made. "God Only Knows", "Wouldn't It Be Nice", "That's Not Me", "You Still Believe In Me" and so on and on... It also contains some rare audio clips Carl Wilson and the Boys at their finest.
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ESPDISK 1012LP
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ESP-Disk' present a Lowell Davidson Trio's self-titled album, originally released in 1965. On Ornette Coleman's recommendation, ESP-Disk' owner Bernard Stollman signed up pianist Lowell Davidson (then majoring in biochemistry at Harvard) for this album without having heard him play. Davidson came to New York and got to work with the elite rhythm section of drummer Milford Graves and bassist Gary Peacock, both stalwarts of the ESP catalog. The interplay among the members of the trio is dazzling, but in all ways the pianist is the star of the album. His playing inevitably drew comparisons to Cecil Taylor (can't blame the critics too much, as there just weren't that many pianists going this far out in 1965, so there weren't many comparisons available), but he is his own man stylistically, and puts more space around his notes. He's equally likely to unleash complexly intertwining two-handed runs, spicy dissonances, shimmering Impressionism, or poignant lyricism. The only recording ever approved for release by Davidson, it remains fresh and exciting fifty years later. Personnel: Lowell Davidson - piano; Gary Peacock - bass; Milford Graves - percussion. Recorded July 27, 1965. Engineering by Art Crist. Photography by George Klabin. Original cover design by Baby Jerry. Tape transfer and mastering by Steven Walcott. Design and layout by Miles Bachman and Michael Sanzone.
"... The composition of the trio is also quite inspired. There appears to have been a symbiotic relationship between the other players -- bassist Gary Peacock, percussionist Milford Graves -- and the pianist. Davidson's superior harmonic sense is beautifully reflected in the manner in which Graves, for instance, employs dynamics to explore tonal colors and rhythmic textures. Although he displays this exquisite sensibility throughout very good examples of this are heard on 'L' and 'Stately.' Peacock achieves no less a state of rarified elegance playing both pizzicato and con arco, especially on 'Ad Hoc.' Note his and Graves' rumbling bass, punctuated by bright splashes on various cymbals, a perfect foil for Davidson's complex forays into the heart of the song's theme." -- Raul d'Gama Rose, All About Jazz
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BS 058LP
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Sold out, repress forthcoming March/2021.. LP version. An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civilizations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.
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KWEST 1967LP
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"Interstellar Overdrive" is an instrumental composition written in 1966 and is on Pink Floyd's 1967 debut album, The Piper at the Gates of Dawn, clocking in at almost ten minutes in length. "Interstellar Overdrive" was one of the first psychedelic instrumental improvisations ever recorded by a rock band. It was seen as Pink Floyd's first foray into space rock. It has also been described as an experimental and psychedelic as well as an example of proto-prog. Waters once called the song "an abstract piece". Not connected to pop music, a long improvisatory quality. The stereo version of the song has an organ moving from speaker to speaker, the effect is not on the mono version of the song, where it gains extra organ and guitar sounds, in fact the organ is very prominent during the first minute of the mono version-along with some special effects-but inaudible in the stereo mix. You will find both mono and stereo versions off the LP plus a rare edit (French only released at the time) and a long freak out version that clocks in at 16:49.
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LR 111B-LP
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2021 repress. Hailing from late-'60s Detroit, Black Merda (pronounced "Murder") were both aesthetically and musically way ahead of their time. When most black groups (including Parliament/ Funkadelic) were still sporting suits, singing about love and using a horn section, Black Merda had already become a tight guitar-heavy freak-funk four-piece. By weaving guitar rock and psychedelia into soul and R&B they were the gods of the underground "black rock" movement which fell somewhere between Jimi Hendrix and Parliament and MC5. But it wasn't just about the music, the message was just as important. Clear beer vinyl.
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2LP
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ARCHIVE 054LP
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Narcotic is perhaps one example of an album in both camps of the Muslimgauze spectrum, it denotes the expertise acquired in oriental percussion by Bryn Jones after a crescent development and practice through action, part tribal, part ambient with shades of texturized noise, glitch details and field recordings, as result the listener is inside this intoxicant atmosphere of exotic madness, where the basic musical premise constituted by the consistent tribal beats from darbukas and tambourines contrasting radically with the eerie sounds from organic noise, distortions, and minimal jams. The opening track "Medina Flight" bangs on with a metallic sounding looped drum track that blares with distortion at some points while background voices chant out vocals nearly throughout. The track is flavored with other harsh sounds and even a few woodwind sounding instruments before subsequently breaking down and starting back in several times. "Believers Of The Blind Sheikh" is a ten-minute Middle-Eastern sounding dub track sprinkled with live drum sounds and more occasional vocal samples of unknown conversation. "Saddams Children" leans more toward traditional instruments, but one can hear the gurgle of electronics lightly in the background. The instrumentation of the album is amazing. Narcotic is a solid piece of work that covers quite a chunk of the electronic music spectrum, although a lot of the rhythms tend to fall on a little harder side. It manages to blend ethnic and electronic sounds into quite an interesting mix. The images of a surrealistic desert land inhabited by the bizarre and general strangeness abounds in between the strong rhythm usage and cinematic atmosphere unbound, subsequently the decisive progression from the album increases this sensation. The listener easily gets submerged into this opium like state, succinctly guided by the beats and echoes from oriental sounds that wander in and out of the speakers and far away and so close from the mind. Interesting and attractive the album keeps a middle ground status, half experimental and other half adapted for the tribal and linear structure common to Muslimgauze, the listener will find quite another of the many faces of this enigmatic artist. The D side contains two bonus tracks taken from the Iran CD. Recorded, engineered, mixed by: John Delf. Previously released as CD.
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LP
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SILV 015LP
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LP version. "Superhero? Supervillain? Super WHAT? Czarface & MF DOOM's newest team-up record Super What? is, much like the Avengers' arch-enemy Thanos... inevitable (and all-powerful!). The icon MF DOOM unleashes his wizardry and wordplay throughout the record, while Czarface (bolstered by the legendary Wu-Tang Clan's Inspectah Deck and Esoteric) slash through each of the Czar-Keys' produced tracks as the team raises the bar on their previous LP, Czarface meets Metalface (2018). Featuring golden-age superhero DMC (of RUN-DMC) and Hieroglyphics' leader Del The Funky Homosapien, with art by longtime Czarface co-creator Lamour Supreme, this album will bring all the thrills of a cosmic summer blockbuster. Recorded and slated for an early 2020 release, and paused while COVID raged, this collaboration of masked men is finally finding its way to you on all formats."
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LSD 69009LP
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2021 repress. Feedback drenched noise for the classic "France" Demos from Japanese psych noise legend, Les Rallizes Denudes.
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SF 117LP
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Other-worldly Canon singing from MIEN (YAO) hill tribes in China, Vietnam, and Laos. Raw, ethereal, and cosmic -- for fans of Bulgarian choir and Javanese Court Gamelan and Sundanese styles of vocal ascension. Although their name comes from a pejorative Chinese expression that means "dog" or "savage" -- stemming from a legend that they were founded by a dog who saved the life of the daughter of a Chinese emperor and thus was rewarded with her hand in marriage -- the largest branch of the YAO minority call themselves MIEN, which means simply "people". They number four million and are spread over the southern Chinese provinces of Guizhou, Guangxi, Yunnan, and also migrated to Vietnam, Laos, and Thailand over the last centuries. Part of the Miao-Yao (Hmong Mien) group of the Sino-Tibetan ethnolinguistic family, they have many subgroups, usually defined according to colors of their traditional clothes. Because of their Chinese origins, the Yao consider themselves to be culturally superior to other hill tribes, having incorporated elements of Taoism into their own beliefs as well as adopting the Chinese written system for men. The Yao women produce wonderful embroidered cloth and that's the main reason why they're being noticed by outsiders. Recorded and produced in the field by Laurent Jeanneau (Kink Gong), this limited edition LP comes with a two-sided insert of photos and liner notes with extended track descriptions by Laurent Jeanneau. Features Keo And Na (Laos), Deng Fu Mei And Zhang Wu Mei (China), Yang Chun Jin And Yang Bao Cheng (China), and Gap Choun (Vietnam).
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2LP
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MIND 750LP
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Limited restock. The Boston Tea Party set from July 1969 on double vinyl. Excellent quality recording for all Velvets fans.
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CT 085LP
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2021 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
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LP
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SOW 002LP
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2021 restock. Sowing Records present a reissue of Hip Harp by Dorothy Ashby with Frank Wess, originally released in 1958. Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound. Clear vinyl; edition of 300.
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2LP+CD
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BEC 5907113
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Double LP version in standard sleeve; includes CD. Duke Ellington once said that there are two kinds of music: the good one and the bad one. With the compilation series Shaolin Soul one is always certain to be on the right side of the line since its first volume (BEC 5543356, 2018) which compiled two dozen tracks sampled by RZA and the Wu-Tang Clan. Following a second episode (BEC 5543357, 2018) and a third (BEC 5543358, 2018), the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music. Features: Esther Phillips, Al Green, Eddie Kendricks, Sylvia, Betty Wright, The Ambassadors, The Dynamics, Carolyn Sullivan, Brenton Wood, The Floaters, Faze-O, Ernie Hines, Jerry Butler, J.J. Johnson, Monk Higgins and Alex Brown, The East St. Louis Gospelettes, Jean Plum, The Staples Singers, The Sylvers, Della Humphrey, Freda Payne, and Carla Thomas.
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LP
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JBH 088LP
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2021 repress on orange vinyl forthcoming... Rare musical magic from the Bruton library catalog -- ambient, spacey, pastoral, and electronic. Music by John Cameron, Alan Hawkshaw, Francis Monkman, Brian Bennett, and more -- all total masters of the scene. Over the last three decades Jonny Trunk has collected and written about library music. But he's never had a great deal of luck with the Bruton catalog. By this he means that he's never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their "TV Training Department" near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn't want the records, so Jonny got a call. There are lots of Bruton albums in existence -- over 330 LPs in the vinyl catalog, issued between 1978 and 1985. That's a lot of music to wade through if you are looking for sublime modern-day sounds. For many years now the "trophies" from the Bruton catalog have been the beat or action driven LPs -- the two Drama Montage (BRJ2 and BRJ8) albums have always been the big hitters, and others such as High Adventure (BRK2) too. But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was painting a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of experimental futuristic electronics and would remind him of 1980s TV backgrounds. This LP series includes Brian Bennett's cosmic classic Fantasia (BRI 10). Jonny has been known to refer to this style of library music as "Krypton Factor library", because it's exactly what that strange but successful 1980s TV quiz show sounded like. Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month's wages, but it also chops out the need to listen to other tracks on library albums that are nowhere near as good. The cues here all date from between 1978 and 1984. Clear vinyl; edition of 500. Also features Frank Ricotti, Johnny Scott, Frank Reidy / Eric Allen, Les Hurdle / Frank Ricotti, Orlando Kimber / John Keliehor, and Steve Gray.
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ASH 3002LP
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2021 repress. Deluxe LP format; 180 gram pressing. Reissue of the second Flower Travellin' Band album, originally issued by Atlantic Records in Japan in 1971. Satori is a conceptual hard rock/psych album driven by Hideki Ishima's furious guitar licks which erupt and explode over the harmonic heart beat of the drums and bass. Yamanaka's banshee-like vocal style turned him into an occidental Iggy Pop or Robert Plant while the band itself was rapidly becoming Japan's answer to Led Zeppelin. Satori is a huge album in every way. From power chords to Eastern-tinged North African six-string freak-outs and crashing tom-toms, the band flexes its collective muscle from start to finish. In short, this is a real rock classic of the type they simply don't make any more.
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LP
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ESPDISK 1083LP
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ESP-Disk' present a reissue of Free Music Quintet's Free Music 1 and 2, originally released in 1968. Dutch drummer Pierre Courbois, an early adaptor of free jazz, had previously appeared on ESP-Disk' with Gunter Hampel (Music from Europe) in 1968 and that same year recorded this album in a farmhouse (as shown on the front cover) in the village of Weslum, home of group member Erwin Somer. Personnel - Boy Raaymakers - trumpet, bugle, percussion; Peter Van Der Locht - soprano sax, tenor sax, piccolo flute, percussion; Erwin Somer - violin, vibraphone, percussion; Ferdinand Rikkers - bass, percussion; Pierre Courbois - percussion, leader; Onno Scholtze: producer, engineer; Recorded in Welsum, Netherlands on June 24 and 25, 1968.
"One of the most uncompromising free jazz records ever made, this one-off improvisation by a group of Dutch players, led by percussionist Pierre Courbois, is an archetype of the style. Free jazz doesn't just require a lot of unrestrained blowing and freeform noise, although there are passages of that here. The two lengthy improvs build from placid beginnings, as each member adds various percussion instruments to the growing cacophony, before reedsman Peter Van Der Locht (at times playing two saxes at once á la Rahsaan Roland Kirk) and trumpeter Boy Raaymakers let loose. All five players get their chances to lead the quintet, although there's a minimum of soloing. Courbois drives both improvs, and there's a five-minute stretch starting about seven minutes into 'Free Music Number One' where he simply explodes, bashing a trap kit and a variety of other objects like the cartoon Tasmanian Devil on a dozen espressos, armed with a pair of baseball bats. There's an impressive sense of dynamics to the improvs, both of which have sections of near-silence mixed in with the explosions, and there's a structural unity to each improv despite the lack of musical themes or other familiar signposts." --Stewart Mason
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2LP
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FAITBACK 001LP
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2021 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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LP
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SF 118LP
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Field recordings of Lobi traditional xylophone (gyil) music recorded by Hisham Mayet on location in Ghana's Upper West Region, West Africa in 2019. Featuring Aaron Bebe Sukura, considered one of the gyil's master musicians from this area. Long form trance music with acoustic instruments sounding like several minimalist orchestras getting to maximalist sonic peaks. The gyil music of the Dagara is a complex multi-dimensional symphony of notes, bringing to life an animist expression that reveals a cultural dialogue between the spirits, the deceased, musicians, dancers, and audience alike. The intensity of this recording reaches a level of complexity that rivals techno music. It is in essence an acoustic techno music, utilizing organic instruments made of wood, leather and gourds filled with spider egg sacs for resonance and played by master musicians creating a sonic wanderlust of mesmerizing sound. Limited edition LP release includes a four-page insert of notes and photos from the recording session.
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2LP
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BEC 5772110
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2021 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
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2LP
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AU 1002LP
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2021 repress. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."
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LP
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SLT 006LP
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Saltern present the first-time vinyl edition of Yoshi Wada's The Appointed Cloud (1987), a work which Wada has often said is his favorite of his own. Staged at the Great Hall of the New York Hall of Science, The Appointed Cloud was Wada's first large-scale, interactive installation and featured a custom pipe organ, among other homemade instruments, controlled by a computer with a customized interface and software designed by engineer David Rayna, known for his work with La Monte Young. This recording captures the opening performance for which Wada brought together four musicians on bagpipes (Wada, Bob Dombrowski, and Wayne Hankin) and percussion (Michael Pugliese) to perform with the installation, operated by David Rayna. Remastered from the original master tape by Stephan Mathieu, and cut to vinyl via Direct Metal Mastering by Hans-Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a digital download of the album. Edition of 600.
In Wada's own words: "This performance [of The Appointed Cloud] was one of most memorable performances I've done. The space itself -- the Great Hall of the New York Hall of Science -- was incredible. The building was designed for the 1964-65 World's Fair and had spaceships hanging from the ceiling so people felt like they were traveling in outer space. It was an amazing experience with the sound of the pipe organ, sheet metal, pipe gong, and bagpipes all together. 60 minutes may seem like a long duration, but it didn't feel like it."
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MGART 904LP
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2021 restock. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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LP
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AI 023LP
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Originally released on CD in 1999, Astral Industries present the first vinyl issue of Monolake's much-loved Gobi, licensed from Imbalance Computer Music. Set to the backdrop of the Gobi Desert in eastern Asia, two shimmering vistas plunge the listener into a vast and deeply hypnotic nocturnal soundscape. The perennial hiss and rattle of insects float along the fresh night air in soft waves. The desert thrives with quiet activity as a westerly wind skitters across moonlit dunes, granulated folds dancing like sheets of thin silk. Tectonic plates murmur beneath the shower of stars overhead, their millennial cycles whispering of aeons past. Vividly textured and enticingly synthetic in its sound design, Gobi succeeds as a stunning piece of minimalism.
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LP
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JDBBC 001LP
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Complete BBC Sessions; all the Peel Sessions plus two songs performed live on the Something Else TV show on Sept.1, 1979. Recordings are especially significant, featuring Curtis and company performing in full glory. The recorded performances themselves are of exceptional quality, and help dispel the myth that Joy Division was not particularly good in a live setting. To mention two examples, the takes of "Transmission" And "She's Lost Control" even take on a much more aggressive quality than what was originally put to tape. As a bonus, a three-minute interview of Curtis and Morris is also included, providing a valuable look at the Human side of one-half of the band.
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LP
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WWSLP 044LP
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Wewantsounds present a reissue of Ziad Rahbani's cult album, Bennesbeh Labokra...Chou? released in Lebanon only and mixing Arabic music with jazz, bossa nova, and other western influences. Curated by Lebanese-born music expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is reissued on vinyl for the first time since 1978. When Ziad Rahbani released Bennesbeh Labokra... Chou? he was only 22 years old. He had started to make an impression on the Lebanese cultural scene a few years before, while still a teenager, composing and releasing albums under his own name. Born into an illustrious musical family -- his mother is the legendary Lebanese Diva Fairuz and his father, Assi Rahbani, was a renowned composer and part of one of the most famous Lebanese groups, The Rahbani Brothers -- Ziad quickly gained exposure as a gifted composer and producer. When his father fell ill in the mid '70s, he took over as Fairuz's producer which led to a fruitful collaboration starting with the 1979 album Wahdon. Highly influenced by other genres of music, Rahbani had started bringing modern western influences to traditional Arabic music. 1978 saw the release of two key albums by the young musician, the disco 12" Abu Ali which went on to become one of the most sought-after Arabic albums on the international DJ scene and Bennesbeh Labokra... Chou?. A soundtrack to Rahbani's eponymous play, the album gathers all the musical interludes heard during the play, a social diatribe about the Beirut society underlining the difficulties of living in the tense social and political climate of the Lebanese civil war. Written by and starring Rahbani, the play follows the everyday life and problems of a young couple running a cafe in the heart of Beirut. The play underlying Rahbani's leftist sensitivity was an immense success and the album was released the same year (the complete play was also released over three LPs). Bennesbeh Labokra... Chou? is a skillful blend of Arabic music and bossa nova, groove with funky beats, and jazz. It's interesting to hear an early version of "Al Bosta" which would grace Fairuz's 1979 album Wahdon in a faster, funkier version. With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Rahbani also brings more complex arrangements to the album. Gatefold sleeve. Remastered audio. Two-page insert with a new introduction by Choueiry.
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NAKED 023LP
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These are the historical recordings by the great ethnomusicologist Hugh Tracey. The fruit of his researches in southern Congo and in northern Zambia between 1957 and 1958. That was the time when the guitar became a popular instrument and slowly achieved the status of cultural symbol. This collection stands as an important document of the emergence of a totally new sound in African music. A unique blend of African roots and pop music imported from the west. A must for all guitar music fans around the globe. Features Ilunga Patrice & Misomba Victor, Ngoi Nono & Kabongo Anastase, Kaseba Anatole, Stephen Tsotsi Kasumali Ematambo, Stephen Tsotsi Kasumali, T. Muntali & M. Sapao Mayo, The Four Pals, John Lushi, Isaac Matafwana & Sunkutu, Luson Mwape Muchalo, Willem Sivale, and F. Musonda.
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VATICAN 004LP
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The first three Peel Sessions recorded by the almighty Killing Joke in 1979, 1980 and 81, with the band at the peak of their indisputable power. A bulletproof repertoire with songs from their classic first two albums, a band in a state of grace and a great sound make this a must... a merciless discharge of menacing tribal after punk by a groundbreaking band.
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LP
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HE 69005LP
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Endless Happiness present a reissue of Kashmere Stage Band's Our Thing, originally self-released in 1969. Our Thing is the debut album of the performing Houston unit known as Kashmere Stage Band. The Texas student band came together at the Kashmere High School and under the direction of musical director Conrad O. Johnson, released a series of cult album on Kram Records, before disbanding in 1978. Raw funk, that's basically what they've been playing and clearly there was a blaxploitation feel all over the place, but their drive was quite unique. Rediscover the myth.
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LP
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SOW 001LP
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2021 restock. Sowing Records present a reissue of We Insist! Max Roach's Freedom Now Suite, originally released in 1960 on Candid Records. One of the major statements in the history of Jazz and African American liberation movements. Max Roach's Freedom Now Suite consists of five original compositions and performances staging and celebrating different moments and aspects of the African American history and culture. Here is a wonderful cast of musicians reunited around Max Roach (drums) and Abbey Lincoln (vocals). Throughout the album you can find great contributions from the likes of Booker Little (trumpet), Julian Priester (trombone), Walter Benton (tenor saxophones), James Schenk (bass), and three percussionists Michael Olatunji, Raymond Mantilla, and Tomas du Vall. Highlights include the highly intense triptych for drum and voice by Roach and Lincoln and a special appearance of tenor sax giant Coleman Hawkins on the opening "Driva' Man". Clear vinyl; edition of 300.
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2LP
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VAMPI 055LP
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2021 repress; double LP version. 2005 release. The former wife of Miles, Betty Mabry Davis is perhaps the only woman in the world who could rightfully have the following legend tattooed across her rear: THIS ASS INVENTED FUSION. While their marriage only lasted a year (1968-1969), Betty pointed the way to Miles, introducing him to the musical and material gods of revolutionary style: Jimi Hendrix and Sly Stone, which would have an enormous impact on his electrified musical Frankenfusion masterpiece known as Bitches Brew. Betty ruled as the mentor-muse for the original man and his music. She was a woman with the strength of a Black Panther, a "nasty" woman in total control, but unfortunately for Betty, America was not yet ready to embrace a woman with such an explicitly sexual persona. She had a much rougher edge to her music than other female funk and soul artists of the '70s. Betty Davis' is one of the most extreme sounding debut records of the decade, which just like Bitches Brew takes equal parts inspiration from Hendrix and Sly. One critic aptly described their sound as something like a cross between Tina Turner, Funkadelic, and Sly & The Family Stone. Add the futurist fashion sense of David Bowie, and the flair of Miles Davis, and you have quite a cocktail. This is the best of Betty Davis' three much-sought albums.
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LP+CD
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ASH 3054YEL-LP
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A reissue of the first album from the legendary Japanese rockers, Flower Travellin' Band, fronted by Yuya Uchida. Although an album consisting mainly of cover versions, Anywhere, originally released in 1970, still exhibited many of the musical traits that were to come to the fore on the band's next release in 1971, the classic Satori (ASH 3002CD/LP), an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risqué cover as well as its ground-breaking approach to Western rock music. 180 gram yellow vinyl; includes CD and insert; hand-numbered sleeve.
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LP
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HOL 124LP
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2021 repress. Holiday Records present the first ever authorized reissue Cairo Free Jazz Ensemble's Heliopolis, originally released in 1970. Released under license from the artist. One of the great projects in Egyptian jazz, the Cairo Free Jazz Ensemble was formed by Salah Ragab and Hartmut Geerken as an avant-garde offshoot of The Cairo Jazz Band, the first jazz big band in the country. Formed in 1968 when Ragab was appointed chief of Egypt's Military Department of Music and had at his disposal a vast staff of musicians (almost three thousand!), an entire military building, and a full range collection of musical instruments. When encountering this recording, issued in 1970, the deep resonance found between the ensemble and its American counterparts becomes startlingly clear. Heliopolis is a stunning blend of big band spiritual jazz, the music of the Middle East, and the fire and energy of free jazz, unveiling a deep creative resonance with the contemporaneous efforts of Pharaoh Sanders, Phil Cohran, and of course Sun Ra, combining jazz instrumentation and musical style with indigenous melodies and instruments to create a musical object with few parallels. The album is a throbbing, squealing, wild journey through the creative heights of sound channeling swirling, focused artistry that taps future and past in a single blow. Copies of the original pressing are between the rarest and most sought-after records in canon of recorded jazz.
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LP
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HOS 679BLU-LP
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LP version. Dark and light blue vinyl with black/white/green splatter. The skylines of Tokyo and New York City are impenetrable. On the streets it is cold -- the ravens have blocked out the sun. The barbed chicken wire that surrounds the cities wave scraps of plastic shreds of circuit boards like surrender flags. Ravens have become the society, they are now the rulers. Black Crows Cyborg is the first collaboration from noise titans Merzbow and Prurient. With more than seven hundred releases between them, this LP finds new ways to traverse the empty cities and navigate the cylinders. These two side-length tracks of cryptic dissonance are underscored by the slightest hint of deconstructed computer synthesis and cyborg vocals. Ravens remember actions from specific humans, and can warn them of impending danger -- or choose not to. As the conspiracy of crows overwhelms mankind's encampment and integrates with the industrial leftovers, Black Crows Cyborg is the soundtrack for the overwhelming embrace under dark mechanical wings. Deluxe embossed cover with mini poster.
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LP
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BF 012LP
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Having already unearthed three collections of archival 1970s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer's music by turning to more recent work with this first-time vinyl edition of Hennix's Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis, a 2014 piece first released as a CD in 2016. The double album captures the April 22, 2014 premiere of the composition by the Chora(s)san Time-Court Mirage, Hennix's expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the origins of the blues in the Eastern musical traditions of raga and makam, Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis has its roots in Hennix's 2013 realization of an Illuminatory Sound Environment, a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix's own The Electric Harpsichord. As Hennix explains in Other Matters, Blank Forms' 2019 collection of her writings: "Rag Infinity/Rag Cosmosis presents fragments of 'raga-like' frequency constellations following distinct cycles and permuting their order, creating a simultaneity of 'multi-universes.' When two such 'universes' come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated -- the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically 'transfinite' Poincaré cycles (cyclic returns to initial conditions). As with Hennix's best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Over this mesmerizing ebb and flow, vocalists incant an Arabic-language devotional poem written by Hennix that features quotations in praise of Allah from the Quran. Also reproduced on the album's gatefold jacket is Hennix's elegant reduction of the sacred text, represented as the first letter of its first line gradually paired down to a single dot, which invites the contemplator to bring their inner knowledge to the composition for use as a meditation prompt. Listeners without spiritual inclinations, but who are willing to immerse themselves in the music, will find the work's serene intensity to be its own reward."
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LP
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BEWITH 094LP
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Repressed! Be With Records present a reissue of Jay Richford and Gary Stevan's Feelings, originally released in 1974. Since its original release on Italian label Carosello in 1974, Richford and Stevan's Feelings has been described as the greatest library record ever released more than once. It's a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. As the story goes, these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn't use their real names on the original release for legal reasons. But Torossi himself later both clarified and confused the tale further by explaining that fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on Feelings. Infectiously funky, deliciously melodic and with impeccable, elegant production, Feelings record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso. The record's first side lifts off with "Flying High", soaring brilliant and shimmering with funk licks, menacing strings, and swaggering horns. The string-drenched cop-funk of "Going Home" raises the tempo with quick-fire bass lines and killer electric guitar. "Walking In The Dark" positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano, and more filthy wah-wah. "Fighting For Life" is another funk-fueled workout built around an effortlessly relentless drum track. The loping, open drum break that guides the much-loved "Feeling Tense" is filled out by heavy bass gloss, swirling strings, and ominous horns. "Running Fast" is a fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. "Loving Tenderly" envelops you in warm, velvety night-time vibes with easy listening horns and slinky strings. The pace picks up on the electrifying "Fearing Much" where strings dart around deep bass, buzzing guitars, and another funky drum break. The lush, melancholic "Being Friendly" is another easy beauty, all warm Rhodes and strings. The climactic "Having Fun" rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings, and triumphant horns. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and more make Feelings one of the finest instrumental soul LPs of the '70s, if not of all time. Remastered for vinyl by Simon Francis and cut by Pete Norman. Remastered from the original tapes.
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LP
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FACTLIV 010LP
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For the first time, you have the opportunity to taste these creations in their rawest formats, alive and unleashed. More austere, more claustrophobic, and more haunting than the studio works, they show an impeccable encapsulation of everything the group sought to achieve in a crude version. Ruthlessly testing effective despite notorious lack of suitability, the live sets are also vital reminders that these purveyors of almost untamed sadness were human too. "I Remember Nothing Recorded" at various locations A1, A2, A4, A5, B3 and B4 Live at Paradiso - Amsterdam, 11/01/1980. A3 and B2 Live at The Factory - Manchester, 07/09/1979. B5 Live at Winter Gardens - Bournemouth, 02/11/1979.
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LP
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HONEY 012LP
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2021 restock. Honey Pie Records present a reissue of Roy Ayers's West Coast Vibes, originally released in 1963. West Coast Vibes consists of Roy Ayers's debut recording session and it can be easily seen as the purest jazz statement of his long career. Recorded in 1963 and still far from his latter-day funk-fusion output, West Coast Vibes is the result of a fine straight-ahead jazz studio session featuring Ayers's vibraphone, Curtis Amy's saxophone, and Jack Wilson's piano, among others. A one-off chance to hear Ayers dealing with standards like Monk's "Well You Needn't" and Parker's "Donna Lee". This is old school west coast jazz at its best.
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2LP
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NSD 166LP
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$23.00
PREORDER
RELEASE DATE: 3/26/2021
2021 repress. "MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip- hop history. Now, the ninth and tenth volumes in the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Vol. 9 & 0 is a must-have for any DOOM fan or hip-hop head."
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LP
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FACTLIV 025LP
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For the first time, you have the opportunity to taste these creations in their rawest formats, alive and unleashed . More austere, more claustrophobic, and more haunting than the studio works, they show an impeccable encapsulation of everything the group sought to achieve in a crude version. Ruthlessly testing effective despite notorious lack of suitability, the live sets are also vital reminders that these purveyors of almost untamed sadness were human too. Recorded at various locations, A1, A5 and B2 Live at Paradiso - Amsterdam, 11/01/1980. A2 and B1 Live at Lyceum Ballroom - London, 29/02/1980. A3 and B3 Live at University Of London Union - London, 07/02/1980. A4 Live at Winter Gardens - Bournemouth, 29/02/1980. B4 Live at High Hall - Birmingham, 02/05/1979.
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2CD
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BF 024CD
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In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high-profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions. Long relegated to the status of a mysterious footnote in Don's session-ography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. The double-CD version includes a bonus CD with a track featuring Jacques Thollot joined by Lindqvist, Tommy Koverhult, Sune Spångberg, and others.
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LP
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SVVRCH 028LP
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Survival Research present a reissue of Manu Dibango's Africadelic, originally released in 1972. The strange and majestic musical beast that is Africadelic was Dibango's follow-up to Soul Makossa (1972), but it was initially released on Louis Delacour's library music label, Mondiaphone, before Soul Makossa became an international phenomenon. As a Mondiaphone release, it was aimed at television and film producers seeking atmospheric background music, so the original titles are simply "Theme No 1," "Theme No 2," etc., with corresponding rhythmic notations such as "3/4 Africain," "Afro Beat 12/8," and "Medium Soul Beat," though once "Soul Makossa" hit the stratosphere, subsequent reissues bore actual song titles. In any case, the album is simply wonderful, a driving mix of Afro soul, funk, and jazz, with an undercurrent of Latin percussion throughout, given further shades by rock guitar and soul organ, as heard on "African Battle" and the title track; opener "Soul Fiesta" builds dramatic percussive tension before Dibango drops a killer vibraphone riff, while "African Carnival" makes the most of the full horn section, Dibango's sax soloing giving room for complex polyrhythmic percussion breaks. "Oriental Sunset" has beautiful vibraphone from Dibango too, as well as a thrilling flute melody, "Monkey Beat" and "Wa Wa" are funky soul struts and "Percussion Storm" has the band marching off into the African sunset as Dibango unleashes another killer vibraphone melody. Listening back to the album now, it is hard to believe that the whole shebang was written in a couple of days and committed to tape within the space of a week, but that is all more testimony to the greatness of Manu Dibango, one of African music's true pioneers.
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LP
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WRJ 002LP
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2021 repress. New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
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2LP
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PCVOL1AND2
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Limited edition analog storage mediums containing two volumes of personal computer music. Double-LP has tactile white and silver sleeve with intense blue and red vinyl discs. Features Hannah Diamond, A. G. Cook, GFOTY, Danny L Harle, Lipgloss Twins, Lil Data, Thy Slaughter, EASYFUN, Dux Content, Carly Rae Jepsen, Noonie Bao, felicita, Chris Lee, Life Sim, and Caroline Polachek.
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LP
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GUESS 168LP
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Guerssen Records present a reissue of Salem Mass's Witch Burning, originally released in 1971. The only fully-authorized vinyl reissue of Salem Mass in the current market. Ultimate US hard-psychedelic/proto-prog burner. Obscure Sabbath-esque hard-rock band Salem Mass self-released their only album in 1971. Recorded at a beer bar converted studio, Witch Burning consists of seven tracks full of ripping guitar, crazy Moog attacks, heavy keyboards, demented vocals and satanic/occult related lyrics, especially in the mind-blowing, ten-minute long title track. Original artwork. Remastered sound from the original masters. Includes insert with liner notes and rare photos/memorabilia. Hard cardboard sleeve; obi.
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LP
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HONEY 022LP
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A fantastic collection focusing on Aretha Franklin hits from the period 1960-62. That's when she started to gain fame as a unique and powerful singer who later became world-known as the Queen of Soul. A great selection of songs full of all the essential ingredients that will inform the development of soul, gospel, and R&B. The perfect introduction to the spirit and art of the unforgettable Lady Soul.
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LP
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RMLP 008LP
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Epirótika! Greek psych folk as a soul medicine. A shepherd's fever dream or spiritual jazz from an ancient world... The moment you fall in love with Epirote music, a new musical universe will open up to you. This ancient psychedelic folk with jazzy improvisations from the North West of Greece is unique and will touch your soul so deeply that epirotika aficionados always remember the place and the moment when they got to know this hypnotic and mesmerizing music. In a similar way to the music of Alice Coltrane or Mulatu Astatke, it can take you out of the here and now -- the pure beauty of the magical epirotika sound can make your mind drift off to otherworldly places. The hard to find recordings of Tassos Chalkias presented on this album are seen as some of the most outstanding expressions of this distinctive musical genre. Includes a 12-page booklet with the illustrated biography of Tassos Chalkias.
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LP
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HONEY 035LP
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A great collection of Stevie Wonder's early '60s work. When as a Tamla's young prodigy named Little Stevie, still under the influence of Ray Charles, he began hitting the charts, proving his genius with songs like "Contract on Love", "Fingertips - Pt 2", and "Work Out Stevie, Work Out".
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2LP
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AUK 026LP
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2021 repress. Pressed on 180 gram black vinyl and housed in a gatefold sleeve. Remastered for a vinyl release. This 15-track compilation spans the years 1995-2004, featuring key tracks from all their albums as well as live recordings and many unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s, and incorporates influences from world music, especially Middle Eastern and Brazilian music.
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LP
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NAKED 024LP
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If you are in search of the origins of Jamaican music this is a great album to start with. Mento was the original Jamaican folk music that predates ska and reggae. Played exclusively on acoustic instruments, Mento was based on both African and European elements. The 1950s was Mento's golden age, as many artists recorded songs using a variety of rhythms and styles. It was the peak of Mento's creativity and popularity and the birth of Jamaica's recording industry. Features Laurel Aitken, Ben Bowers with The Babba Motta Orchestra, Hubert Porter, Count Lasher's Seven, Count Lasher, Lord Flea, Harold Richardson & The Ticklers, Harold Richardson, Market & Day O Wrigglers, Lord Fly, Count Lasher & His Quintet, Boysie Grant, and Boysie Grant & Reynold's Calypso Clippers.
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