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ACMEM 142CD
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"The Sound of Revolution combines Gilberto Gil's brilliant 1968 and '69 Tropicalia albums, Frevo Rasgado and Cerebro Electronico; joyous, extraordinarily inventive pop music made against a background of terrible political unrest in Brazil and in the shadow of both imprisonment and eventually exile both for Gil and his friend Caetano Veloso. The 1968 album is electrified by the meteoric Os Mutantes and both sets were arranged by Rogerio Duprat, who contributes a range of totally original textures and orchestration, much as George Martin did with 'Strawberry Fields' and Sgt. Pepper. Suffice to say, this combination of precocious talent achieves a magical and historically important result."
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3CD
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ACME 351CD
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"A 3CD set of classical avant-garde music that influenced The Beatles, Syd Barrett and Pink Floyd, David Bowie, Nick Drake and more." Featuring Beethoven, Xenakis, Stockhausen, Berio, Cage, Bernard Herrmann, Ravi Shankar, Ravel, Debussy, Holst, Bill Evans, Sun Ra, G.F. Handel, John Coltrane, Charlie Parker, Igor Stravinsky, Edgard Varese, Sibelius, Delius, Jacques Brel, Villa-Lobos Chopin, and more.
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3CD BOX
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ACME 349BOX
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"A presentation featuring Joe Meek's fantastical lunar stereophonic sound adventure, I Hear A New World; both the celebrated 1991 RPM restoration and the original unreleased 1960 concept album; placed in broader international context alongside seminal works by other pioneers of electronic music; from Daphne Oram to Edgard Varèse. Considered in this context, Meek's masterpiece seems less an oddball pop novelty than a daring and visionary electronic sound exploration. The legendary British pop producer came to prominence during the repressed monochrome days before the Beatles arrived to change everything; an era of fascination with all things Space Age and nuclear; a mood Meek encapsulated with his biggest hit, Telstar by the Tornados; a million selling chart-topper on both sides of the Atlantic and the first British pop single to reach Number One in America. Electronic gear and studio techniques were Meek's obsession. He would dismantle a piece of equipment and modify it in order to ramp up its capability and thought nothing of building his own compressors, equalisers and echo units. The trademark Meek sound combined an extra-terrestrial keyboard, brittle guitars awash with reverb and a spectral vocal all fiercely compressed. He constantly pushed at the frontiers of his studio's technical potential, using it as an instrument in its own right and often applying authentic musique concrète procedures in the perpetual search for new sounds. His knowledge of electronics was as advanced as anyone in Britain at the time. The establishment record labels were intimidated by Joe's inventive genius and moody eccentricity; embarrassed that he could outdo them by producing hit records from a glorified home studio above a leather goods shop on the Holloway Road."
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3CD
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ACME 344CD
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"Françoise Hardy's dreamy debut album, recorded when she was just eighteen, features 'Tous Les Garçons Et Les Filles' (All The Boys And Girls), a song that was less a hit than a social phenomenon. The single sold five million copies worldwide. The public responded to Françoise' disarming naturalness; her singular, understated voice; the combination of intensity, intelligence and mystery. And the way she so effortlessly combined simplicity with sophistication. She was a breath of fresh air. Françoise' vital debut recordings are presented here alongside 'Françoise Hardy - Canta Per Voi In Italiano' (Sings For You In Italian), and complemented by an anthology of sublime instrumental jazz sessions by her friend and contemporary, Sacha Distel. In the period when these recordings were made -- before he became an international singing star -- Sacha was widely considered to be the finest jazz guitarist in France, winning many polls and recording prolifically. (Françoise would later appear as a guest on Sacha's TV show where they performed a duet, accompanied by his guitar, a beautiful version of 'Le Premier Bonheur Du Jour') The set includes historic sessions with John Lewis of the Modern Jazz Quartet, with the Belgian saxophonist/flautist Bobby Jaspar and with guitarist Jean-Pierre Sasson; Sacha's tribute to the master, the Hommage A Django EP, and the first recording of his most famous composition, 'Marina (The Good Life)' -- the million selling song which would become one of the great standards of easy listening and prove over many decades to be a signature tune for Tony Bennett. It was written originally for Roger Vadim's contribution to the 'L'orgueil (Pride)' chapter of the portmanteau film, 'Les sept péchés capitaux (The Seven Deadly Sins)'; the sequence appearing alongside sketches by Godard, Chabrol and Demy."
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3CD
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ACME 339CD
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"No composer had a greater appetite for revolution than Stockhausen, who was embarking on a quest that would occupy him for more than half a century, and which would take in a whole gamut of constantly re-defined objectives - among them 'point music', 'spatial music' and 'multi-formula composition'. His early electronic compositions such as the Studies were painstakingly and meticulously constructed using magnetic tape, to be followed over the ensuing decade by the works which ranked among the masterpieces of electronic music, Gesang der Jünglinge (Song of the Youths) and Kontakte (Contacts). All of these unprecedented early electronic works are included in this three CD box set presentation which also incorporates such visionary creations of intellect and sensitivity as Pierre Boulez' orientally flavored Le Marteux Sans Maitre, recorded under the baton of Robert Craft, Xenakis' brilliant explorations of the dramatic and coloristic properties of Concrète sound, Poème électronique, Edgard Varèse's extraordinary response to a commission from Le Corbusier for music for the pavilion of the 1958 Brussels World Fair, and Ligeti's 'conversation without words', Artikulation, alongside the audacious Cartridge Music, for 'amplified small sounds' constructed by John Cage, using phonograph cartridges inserted with feathers, lengths of wire, toothpicks, pipe cleaners, small twigs, wire coils and nails to make audible otherwise indiscernible sounds."
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CD
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ACMEM 157CD
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"Edith Sitwell and Lord Berners did more than most to dispel the nationalistic insularity that dominated so much English literature and music in the decade that followed the First World War. The work that brought the Sitwells their greatest fame -- and notoriety -- was Façade, an entertainment that combined Edith's idiosyncratic verse with the music of the young William Walton. With Cocteau s Parade the obvious precedent, the family delighted in creating a first-class scandal in literature and music . Here, the 1929 premiere recording with Constant Lambert appears alongside that made in 1954 with Peter Pears; by all accounts, the only performances of which Edith really approved. Façade owed its existence to the support and encouragement of, among others, Lord Berners. Considered by Stravinsky to be the most gifted composer of his generation, Berners was famously eccentric (A fine biography Lord Berners -The Last Eccentric by Mark Amory was recently published), a diplomat, an accomplished writer, painter, composer and missionary of the arts. As with the Sitwell's, his idealism, openness to new ideas and willingness to embrace humor made for a peculiarly British avant garde. The Berners piece featured in this edition is one of his most widely regarded; the suite from the ballet The Triumph of Neptune which was commissioned by Serge Diagilev in 1926."
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ACMEM 151CD
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Kipling's Jungle Book, The Thief of Bagdad, and Black Narcissus. "Selar Shaik Sabu made his first film appearance in 1937 as a 12-year-old orphan, having landed the title role in Elephant Boy purely by chance after being plucked from Indian obscurity by a British location crew. His rise to international stardom was swift and dramatic with leading roles in Alexander Korda's productions The Thief of Bagdad and Rudyard Kipling's Jungle Book. But by the time he appeared in Powell & Pressburger's Black Narcissus in 1947 that stardom was already guttering, and during the remaining sixteen years of his tragically short life he was obliged to accept increasingly minor roles that mostly traded on former glories. Yet during those ten extraordinary years Sabu illuminated the screen in a way that remains without precedent. The renowned Hungarian film composer Miklos Rozsa wrote the scores for The Thief of Bagdad and Kipling's Jungle Book. Our edition restores them to the catalogue for the first time in decades. Sabu narrates the Jungle Book to Rozsa's music in character as Mowgli. The result is charming. The recordings were originally released as a set of four 78 RPM discs in 1940. The first ever film soundtrack album Black Narcissus is classic Powell & Pressburger; The Archers at the height of their powers. A triumph of artistry in cinema to which Sabu contributes the memorable role of the young general."
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ACMEM 152CD
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"Paris 1919. Playwright, novelist, poet, surrealist, filmmaker and self-publicist Jean Cocteau was the literary spokesman for Les Six. With his endorsement, and the inspiration of Erik Satie and fired by the principles of Dada and surrealism, the group, comprising Francis Poulenc, Arthur Honegger, Darius Milhaud, Georges Auric, Germaine Tailleferre and Louis Durey, expressed their irreverence towards the twin spectres of lifeless tradition and bloodless modernism. They embraced the previously forbidden worlds of popular song, 'primitive' music and jazz and in so doing, helped purge the classical music establishment of its deeply ingrained snobbery and pave the way for generations of iconoclasts -- in classical, jazz and rock music -- still to come. Our edition comprises famous examples of the work of this group of composers who so scandalized twenties Paris Pacific 231, Les Biches, Le Boeuf sur le Toit and La Creation du Monde along with themes from Georges Auric¹s scores for Cocteau s the very influential surrealistic film fantasies; Orphée (Orpheus), La belle et la bête (Beauty and the Beast) and L'aigle à deux têtes (The Eagle has Two Heads)."
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ACMEM 136CD
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"Hailed by Stanley Kubrick as absolutely one of the great films, Lindsay Anderson's stylish, surrealistic, uncompromising and confrontational film If... encapsulated the revolutionary atmosphere of the '60s; and four decades on, has lost none of its power to astonish and provoke. Malcolm McDowell (of whom If... made a star), suggested the bewitching, otherworldly music of Sanctus from the Missa Luba, a version of the Latin Mass based on traditional Congolese songs, which establishes the film's very particular atmosphere. If... captured the public's imagination beyond anyone's expectation and the memorable Sanctus subsequently became a chart hit ("I couldn't believe it," recalled McDowell). Les Troubadours du Roi Baudouin, a choir, with percussion section, consisting of about 45 boys from 9 to 14 years old, and 15 teachers were formed by Father Haazen. The Missa Luba is pure Congolese. It is completely void of any modern, Western musical influences. None of it is written. Certain rhythms, harmonies and embellishments are spontaneous improvisations. This edition, comprising the mass and native songs of the Congo, is the first complete restoration of the original album first released in 1963."
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ACMEM 146CD
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"The music of Charles Ives is a cultural sourcebook of America at the beginning of the 20th century. He took the evangelical hymns, the college songs, the melodies of the dance hall, the tunes of small town bands and the sounds of village life and shaped them into musical works that are at once familiar and of startling originality. Long considered to be unplayable, his musical juxtapositions would prove to be enormously influential and inform such kaleidoscopic inventions as Van Dyke Parks' Song Cycle and The Beach Boys' Smile. Ives today is regarded as 'a greatly original, immensely creative composer, who gave new dimensions to the vast and varied heritage of America¹s music.' A true 'American Original' who marched to a different beat. Ives audience stretches beyond classical into the modern avant-garde fields of Cage, Varèse and Stockhausen. He is very collectable and none of the pieces that comprise our edition have ever been re-released or restored digitally."
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ACMEM 108CD
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Compilation of material from the Transatlantic label, originally recorded 1970-74. The majority of the material is solo acoustic guitar and vocals, although there are also appearances by Richard Thompson, Ian Whiteman, Danny Thompson & others. "America's master guitarist, Stefan Grossman is a recognized but underrated virtuoso in every genre of the guitar. This set draws on vintage material in the classic Transatlantic folk catalogue that showcases Stefan's genius as both a guitarist and as a songwriter, particularly able to evoke the atmosphere of Americana."
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ACMEM 127CD
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"The Changing of the Guard is a unique music and dialogue sound collage of Swinging London in 1968; a time of exciting developments in all the artistic fields and a time when England set cultural standards that the world is still trying to emulate. Protagonists central to the scene are included here: Mick Jagger of The Rolling Stones discussing revolution; his manager Andrew Loog Oldham explaining business philosophy; the young Michael Caine debating morals in the context of the permissive society; Julie Christie on fame and Lee Marvin on mini-cars and mini-skirts! The dialogue is edited against brilliant historic London pop of the period: big hits such as The Small Face's 'Itchychoo Park' and 'Here Come The Nice,' Chris Farlowe's memorable number one 'Out of Time,' 'If Paradise is Half as Nice' by The Amen Corner and mercurial psychedelia; The Marquis of Kensington, Fleur De Lys, Duncan Browne, Billy Nicholls and the first line up of Humble Pie featuring Steve Marriott and 'the Face Of 1968,' Peter Frampton. Special mention too for an early song from Vashti. The success of Andrew Oldham's two recent autobiographies confirms that there has never been more fascination with the period, even if some of it is nostalgia for what we have subsequently unfortunately lost."
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ACMEM 104CD
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"Jonesy are the last great secret of the early '70s progressive rock era. A wildly acclaimed British group whose influences vary from Frank Zappa, Can, Neu, Ian Carr's Nucleus and King Crimson, Popol Vuh and the West Coast Pop Art Experimental Band. The original vinyl editions of their three original albums (from which this compilation is drawn) on Pye's Specialist Dawn label are expensive collectables. The music has aged well and for once the inflated price tag is entirely justifiable. The group were brilliant musicians, pioneers who were not above creating under the influences of strange substances. The music is very psychedelic and hugely compelling."
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ACMEM 100CD
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"The last great psychedelic album, Spiral and its successor Sometimes are restored to the catalog (together here) for the first time in over thirty years. Completely overlooked when it was first released and quickly deleted, original copies of Spiral have long been the Holy Grail for collectors, changing hands for ridiculous money. This album crosses over onto the jazz-lounge scene where Spiral is right up there with Roy Budd's Get Carter score. The famous title track features the vocals of Claire Torrey who contributed to Pink Floyd's Dark Side of the Moon."
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ACMEM 081CD
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"The biggest female name in cinema, Brigitte Bardot is the embodiment of all that is sensuous and exciting about fifties and sixties pop culture. This is the soundtrack to The Girl in the Bikini, Brigitte's second film made in 1952. The original vinyl edition of this album is an almost impossible rarity; amongst the most sought after of all Bardot artifacts. Brigitte Bardot's enormous international reputation is based on her incredible beauty and intelligence and the work she did in film with Roger Vadim and in pop with Serge Gainsbourg. Brigitte Bardot -- the name has generated headlines and cinema queues over five decades. Her very initials are known far and wide and signal instant revolution in films, fashion, lifestyles, sexuality. She is undoubtedly one of the most famous French women of all and there has rarely been any woman from anywhere creating such an impact on her times -- reverberating still in her retirement, as film-makers and actresses, designers and jet-setters, continue to pour through the doors of permissivity she kicked open with elan. Credible with every pop generation. simply a living legend."
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ACMEM 077CD
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"The Dave Pell Singers album is highly prized, top class lounge/harmony sunshine pop. What the Japanese call Soft Rock. Originally issued in 1969, It's many highlights include a breezy version of Piero Umiliani's Mah-Na, Mah-Na and a cool, sensuous performance of the title tune from the controversial musical, 'Oh, Calcutta.' With this release Dave Pell can now take his rightful place amongst the giants of lounge; Andy Williams, Roy Budd, Dudley Moore, Tony Hatch. Dave Pell's behind-the-scenes career may be more familiar to space age pop fans than his own accomplishments as a performer. Head of A&R at United Artists and Liberty Records in the sixties Pell produced well-known albums by Martin Denny, The Ventures, Shirley Bassey and Bobby Vee."
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ACMEM 068CD
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"First volume of music from the films of one of the biggest names in world cinema, Orson Welles. Prodigy, aesthete, actor, magician, maverick and very probably the most gifted director film has known, Orson Welles came from a theatrical and radio background to revolutionize cinema. Welles is no mere success but a legend whose work is timeless and has been appreciated by generation after generation of moviegoers. Music from Citizen Kane, regarded by many as the greatest film ever made is included in this highly original compilation. Music from the film that made Orson Welles a household name in Europe The Third Man is also part of this collection with it's memorable zither theme by Anton Karas. The music from Citizen Kane, The Magnificent Ambersons and Jane Eyre is composed and conducted by Bernard Herrmann one of the all time greats of film music Psycho, Vertigo, North By Northwest, Taxi Driver."
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ACMEM 067CD
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"The Hi-Lo's are arguably the greatest vocal group of all time. In the fifties they brilliantly combined doo-wop, jazz and pop to create an incredible new genre that would change the whole direction of vocal popular music and eventually inspire Brian Wilson to create Pet Sounds. Although they grew from the fifties, the Hi-Los appeal is by no means restricted to that decade. Their sounds anticipated the eclectic musical attitudes of the sixties and seventies influencing the Beach Boys, the Mamas and the Papas and Manhattan Transfer. Listen! is the Hi-Lo's first album issued in 1954. It is a landmark work of considerable artistry and has never been released in digital format anywhere in the world. This is a beautiful record that will appeal to fans of all shades of vocal music; Free Design, The Association, Harpers Bizarre and followers of doo-wop."
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ACMEM 060CD
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"This is a welcome re-issue of the extremely scarce early seventies solo album by Denny Doherty, who is one of the original members of the hugely successful Mamas & The Papas, one of the best loved of all sixties groups. Denny Doherty is one of the great vocalists of the sixties, a singer described by Mamas & Papas' Michelle Phillips as 'The Psychedelic Frank Sinatra.' With the demise of the group amid drug-induced acrimony, Denny embarked on a solo career which culminated in the 1974 LP Waiting For A Song. The album featured backing vocals by Cass and Michelle Phillips on what proved to be Cass Elliot's final recording, as she would suffer a fatal heart attack in London in July of that year. This album is very much one for aficionados of Margo Guryan/ Free Design style intelligent vocal pop-flowerpower-sunshine pop."
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ACMEM 047CD
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"Born in Rio De Janeiro in 1932 the composer Rogerio Duprat lived in São Paulo and it was there in the early sixties that he developed an interest in the avant-garde which would soon lead to him studying in Europe with Karlheinz Stockhausen and Pierre Boulez. Returning to Brazil, Duprat wrote scores for Walter Hugo Khouri's films and, against the background of military dictatorship, Duprat met the leaders of Tropicália, Caetano Veloso and Gilberto Gil; drawn to the movement by their determination to absorb universal culture and revolutionise Brazilian music. So in 1968, he wrote several arrangements for the seminal Tropicália album which involved Caetano, Gil, Tom Zé, Gal Costa, Os Mutantes, Nara Leão and Torquato Neto and played a decisive role in liberating the sound of the ground-breaking albums of Os Mutantes. Duprat's arrangements are marvellous; intelligent, imaginative, playful and distinctive. He has been called the George Martin of Tropicalia -- the Brian Wilson of Brazil. Rogerio Duprat's solo LP A Banda Tropicalista was released in 1968 when he was at his peak. São Paulo was living a modernist dream, classical music was in the air and so was psychedelia. Duprat audaciously fused these elements. Under Rogerio's skillful auspices, material by John Fred and his playboy band, The Beatles and the Cowsills is harmonised with the compositions of Tom Jobim, Caetano Veloso and Gilberto Gil. Os Mutantes perform joyfully on four tracks. Sometimes knockabout, always within an atmosphere of refinement, the album is a cultural mosaic -- a positive happening. In later years Duprat spent time writing jingles but was slowly forced to withdraw from his artistic activities due to hearing problems. He now lives in retirement on his farmhouse in the São Paulo countryside. Today, the work of this important pop composer is being discovered outside of Brazil. Seek out these productions. The name of Rogerio Duprat on any record is the stamp of quality."
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