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viewing 1 To 15 of 15 items
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2LP
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BF 023LP
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Limited restock; Double LP version. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician. The five-person band -- Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos -- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance -- including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) -- all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona.
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LP
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BORNBAD 069LP
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2021 restock; LP version. Includes six-page booklet. One, two, three... hold your breath for 40 minutes for a peregrination through a special kind of pop music "made in France" between 1967 and 1970, a mix of ribaldry, flashes of brilliance, and adventurous twists on familiar sounds. We will plunge into French-style pop, unapologetic and defiant; blue-white-and-red pop that does not take itself seriously, not out of line with its "yé-yé" contemporaries, who were themselves uninspired by the boring, commercial teenage music that dominated in France at that time. It is pop music fueled by creativity -- though not always well-focused -- with peculiar arrangements, inspired compositions, and precarious production... but oh so tasty! WIZZZ 3 spotlights French artists who dared to try, to experiment... Includes tracks by Dansez avec Moa, Bernard Chabert, Joanna, Pierre Paul Jacques, Evariste, Jean-Bernard de Libreville, Crischa, Long Chris, Nato, Papy, Fatty Nautty, Balthazar, Jane et Julie, Bruno Leys, and Marcel Artero.
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LP
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ESPDISK 1002LP
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2021 repress. LP version. 180 gram virgin vinyl, with original artwork restored. Spiritual Unity, recorded on July 10, 1964, is the album that made Albert Ayler and ESP-Disk' famous (or, in some people's eyes/ears, infamous). Mr. Ayler had already recorded in Europe and, in February '64, in New York, but this was the first album on which neither he nor his collaborators held back. It was also ESP's first jazz recording. Spiritual Unity presented a new improvisation paradigm: looser structure, less regard for standard pitch, and no obligation to present a regular beat. Ayler's sound was unprecedented, much rawer than any other jazz of the time. Sometimes it was expressed in squalls of untempered sound, sometimes in outbursts of poignant spontaneous melody. Meanwhile, under and around the leader's unfettered self-expressions, bassist Gary Peacock and drummer Sunny Murray reinvented the roles of their instruments.
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LP
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LR 102LP
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2021 repress. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..
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LP
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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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LP
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LR 135C-LP
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2021 repress. Lilith present a reissue of Caetano Veloso's Caetano Veloso (A Little More Blue), originally issued in 1971. Often referred to as "Brazil's unofficial poet laureate" and the "Bob Dylan of Brazil", this heavyweight of Brazilian music was also a young revolutionary who used his music to protest against Brazil's oppressive military regime. This protest music, which became known as tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso's extreme bitterness and melancholy can be heard on every groove of this album, but don't let the album's gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl.
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LP
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LR 313C-LP
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2021 repress. Clear vinyl reissue of Brainticket's Cottonwoodhill, originally released in 1971. Cottonwoodhill -- their debut album -- immediately ran into controversy for its association with psychedelic drugs. The album came with a warning label that insisted you should "only listen once a day to this record. Your brain might be destroyed," which led to the album being banned in several countries including the USA.
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LP+CD
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LR 349LP
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2021 repress. By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobim and the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave.
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LP
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OS 036LP
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2021 restock. The first chapter of Onderstroom digging into the history of Dutch minimal synth and wave. Who needs a big, expensive recording studio with all those fancy high-tech machines that only make your weary head spin when you can do it all by yourself at home in your (teenage) bedroom? Way back in the early eighties all you really needed was an idea, quite a bit of guts and some rudimentary equipment. You could basically do whatever you wanted. The means were limited, yet the sky was unbounded. It was the time of the Cold War nuclear threat, social unrest and mass unemployment but at the same time it was an era of infinite possibilities. The future was just around the corner. A lot of music that was being produced sounded just like that: a brave new world of sound and rhythm. Music was simply put on cheap cassettes, easily duplicated, and swiftly distributed in limited quantities into the big world outside. Tracks recorded in Amsterdam, Arnhem of Heiloo ended up in unimaginable destinations such as Brisbane or Buenos Aires. Prolific international underground scenes were informed of this new wave of Dutch electronic artists by means of word of mouth, fanzines, devoted underground tape traders, and sometimes that tiny bit of luck. As their predecessors of the (in)famous Dutch East-India Company (now cult) acts such as The Actor, Ende Shneafliet, Das Ding, Störung, S.M. Nurse, Nine Circles, Beatnik Love Affair, and Van Kaye + Ignit all explored their own paths. Some went straight into oblivion, others had a brief taste of modest upper-ground success. Mind: the names presented here are but the proverbial tip of the iceberg. Some of these early tapes became much sought-after collectors' items; others gathered dust. The rest, well, is history. Now, decades upon decades later, Onderstroom digs again in history and surfaces with a selection of tracks that illustrate the rich past of electronic Holland. Call it minimal wave, synth-pop, or experimental electronics. Onderstroom call it the real Dutch treat. Features Nine Circles, Beatnik Love Affair, The Actor, Störung, Van Kaye + Ignit, S.M. Nurse, Ende Shneafliet, and Das Ding. Comes in a gatefold sleeve with metallic finishing; 180 gram vinyl.
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2CD
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SNDW 060CD
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2021 restock. 38-track compilation from the acclaimed label Soundway. In conjunction with compiler and highlife researcher Dr. Markus Coester, Soundway present a very special release. In many ways this compilation is a prequel of sorts to Soundway's groundbreaking Nigeria & Ghana Special compilations, telling the early story of modern highlife's foundation and formulation. It traces the music from West Africa to London, adding elements of jazz, mambo, and calypso along the way and paving the way for the afro sounds of the 1970s. Includes two previously unreleased first-ever known recordings of Afrobeat legend Fela Kuti; Recorded by Melodisc in London in 1960 both tracks have been unearthed after more than fifty years in hiding. Features Ginger Folorunso Johnson & His Afro-Cuban Band, Kwamalah Quaye Sextetto Africana , Nigerian Union Rhythm Group, Steve Rhodes & His London Hi-Lifers, Fela Ransome-Kuti & The Highlife Rakers, Chris Ajilo And His Cubanos, Soundz Africana, The Black Star Band, Buddy Pipp's Highlifers, The Quavers, Afro Rhythm Kings, Bobby Benson & His Orchestra, John Santos Martins, Zeal Onyia & His Band, E. C. Arinze & The Empire Rhythm Orchestra, Lord Ganda & Rupert Nurse's Calypso Band, Adams' African Sky Rockets, Bobby Benson & His Combo, Rans Boi's African Highlife Band, Eddie Lamptey & The Peoples Highlife Band, Eddie Red Tettey, West African Rhythm Brothers, West African Swing Stars, Awotwi Paynin & His Ghana Rockers, T. Odueso's Akesan Highlifers, Willie Payne & The Starlite Tempos, Ransome-Kuti & His Koola Lobitos, and Victor Ola-Iya & His 'Cool Cats'. Accompanied by a 44-page CD booklet.
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LP
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SNDW 118LP
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2021 restock; LP version. The boundary-pushing Colombian group returns to Soundway with another unique album: dreamy psych-folk, blending traditional Latin rock with tropicalia and lush string and choral arrangements. The Meridian Brothers' sound is a huge palette of influences and inspirations. Led by composer Eblis Alvarez, a pioneer of the alternative music scene in Bogotá, the band continuously explores and experiments with alternative ways of playing instruments and electronic media. Drawing from traditional Latin rock (including Colombian, Argentinian, and Mexican) as well as Brazilian tropicalia, for ¿Dónde Estás María? Alvarez incorporates string instruments -- in particular the cello, both bowed and plucked -- a timbre rarely used in his previous works.
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LP
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SNDW 121LP
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2021 restock. Reissue. 1979 township disco-funk masterpiece from one of South Africa's most prolific bands of that era, The Movers. The Movers enjoyed huge success in the 1970s, releasing album after album of ground-breaking sounds, including fusions of South African marabi jazz, funk, disco, and jive. An extremely rare and in-demand record from the disco-funk group has been unearthed and restored. 180 gram vinyl; Tip-on sleeve.
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LP
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SR 066LP
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2021 restock. For many, the first traces of the Raudive Tapes were in William Burroughs's fictions and articles. The fact is, these mysterious magnetic tapes, which capture the voices of the dead, and were recorded by the Baltic scientist Konstantin Raudive, are not a fiction but a reality (in this case, not judging their scientific objectivity). These tapes, as rare as H.P. Lovecraft's Necronomicon, are now in Sub Rosa's archives.
What you'll find in this record: 1. Two introductions by Konstantin Raudive and a large session of examples from his archives (July 1965); 2. Nine extracts from the Gerhard Stempnik experiments -- a musician of the Berlin Philharmonic and close friend of Raudive (tapes from 1980); 3. A Raudive celebration including unpublished material by Paul D. Miller, aka DJ Spooky/That Subliminal Kid, David Toop, Lee Ranaldo (Sonic Youth), Calla, and Carl Michael von Hausswolff. They have all composed an exclusive piece of music based on the Raudive material. It goes from a close examination of the material itself to a more evocative mood.
Who was Doctor Raudive?: Dr. Konstantin Raudive, a student of Carl Jung, was a Latvian psychologist who taught at the University of Uppsala, Sweden, before devoting the last ten years of his life to electronic voice phenomenon (EVP). He published in his book Breakthrough in 1971. His early collaborator F. Jurgenson, whom he met by the very beginning of 1965, awakened Dr. K. Raudive's interest in EVP research. Raudive spent endless hours for the thorough study of Jurgenson's books (Voices from Space, 1964 and Radio-Link with the Dead, 1967). From an overwhelming database (ranging about 72000 samples!), Raudive's mother seems to be statistically the most frequently reported contact personality. She usually addressed her son in the Latgalian dialect. Includes color insert.
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LP
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VL 900082LP
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2021 repress. Transa is the fourth album by Brazilian musician Caetano Veloso, released on 1972 by PolyGram. Like its predecessor, it was recorded while the artist was exiled in London, though he returned to Brazil shortly after completing it. Evocative, eclectic, intimate, and rhythmically complex, Transa contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The record was cut in 1972, shortly after Veloso's return from political exile in England. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia," (ending with the wise line "That's What Rock 'n Roll Is All About") close out the set. Transa is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop -- or brilliant, original pop in general. 180 gram vinyl.
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LP
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VL 999369LP
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2021 repress. Vinyl Lovers present clear vinyl reissue of The Jam's second album This Is The Modern World, originally released in 1977 just after their debut record. Despite generally bad reviews from critics at the time, the album does have its shining moments ("Life From A Window" and "The Modern World", for example). But it is also interesting as a piece of history for its lyrical content, which, as the album's title promised, is a snapshot of a day in the life of the declining British Empire during the late 1970s. Includes eight bonus tracks from the BBC sessions.
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