|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 22 of 22 items
|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ASH 101LP
|
2021 repress. "Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside. Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP. For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener 'Blues Run The Game' to the stunning melancholy of 'Milk And Honey,' Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BSUN 003EP
|
"Flørist adds an important chapter to Baroque Sunburst's quest for the hypnotic and hybrid side of dance music. Moving effortlessly between different BPMs and orchestrating with an innate elegance, the Berlin-based Canadian producer has assembled three long mesmerizing journeys. He straddles Terry Riley-esque minimalism, Warp's A.I. sci-fi side and the emotional depth of Basic Channel, blending these whilst maintaining dancefloor efficacy. 'Intermedia 1' is architectural music where every detail is essential and everything is constantly developing."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HJR 002LP
|
2021 restock. Subtitled: Trinidadian Calypso In London, 1950-1956. 2011 vinyl repress of what was the 2nd album on the Honest Jon's label, originally released 2002. When the Empire Windrush, an old troop-carrier, arrived at Tilbury on June 21, 1948, and inaugurated modern Caribbean immigration to Britain, it also supplied calypso with its best-known image -- on Pathé newsreel, Lord Kitchener singing his new composition "London Is The Place For Me." Kitch had boarded with Lord Beginner at Kingston docks, Jamaica, on Empire Day, May 24. In London they joined a milieu of fine band musicians familiar with Caribbean musical forms and already represented on numerous recordings crucial to the development of British swing and jazz music. Travelling with their own core audience, the Trinidadian calypsonians brought with them the vocal music of Carnival. Traditionally this ranges from social satire to sexual double-entendre, from voodoo to the most pressing issues of the day, from sporting events to competitive insult. The experiences of Britain's growing Caribbean population were to be fabulously rich in raw material. Housed in a gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HJR 109LP
|
2021 restock; LP version. Originally released in 1980, this album from Lee "Scratch" Perry is the final work to emerge from the Black Ark studio, before its permanent destruction. It concludes a series of such LP masterworks such as Super Ape, War In Babylon, Police And Thieves, and Return Of The Super Ape. Enthrallingly, it crosses the sound world of Roast Fish Collie Weed & Cornbread with new hybrids -- like the irresistible 11-minute opener, rolling and delirious, a kind of reggae prophesy of Marvin Gaye's "Sexual Healing," but musically richer, and more glazed, randy and visionary. Includes an insert with extensive notes by David Katz.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
LCD 1012CD
|
2021 restock; 1997 release. A gorgeous recording of works for trombone and piano, transformed by Alvin Lucier's electronics and oscillators. Wind Shadows (1994), Music for Piano with One or More Snare Drums (1990), and Panorama (1993) -- were written for the Swiss musicians Roland Dahinden and Hildegard Kleeb, who play them on this CD. Also included: Music for Piano with Amplified Sonorous Vessels (1990), which was originally written for Margaret Leng Tan.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
LCD 2003CD
|
2021 restock. Originally released on Lovely Music in 1987. Jetsun Mila is inspired by the life of Milarepa, a great yogi and poet of Tibet who lived in the 11th century. The story of his life as told to his closest disciple, Rechungpa, represents one of the most famous works within Tibetan culture. The Mila Kabum, or Namthar, has been translated into several Western languages, including English and French. Eliane Radigue's 84-minute musical evocation of Milarepa's life is in nine sections, with prelude, which correspond to major periods of the life of this famous yogi. The sections flow from one to the other without breaks, one giving birth naturally to the next. Performed (Arp synthesizer) and recorded digitally by Eliane Radigue. Other Music's Michael Klausman review of the work: "Jetsun Mila eschews text in favor of a purely electronic treating of his storied life via nine passages that slowly and seamlessly flow into one another. Radigue is one of the most perceptually disorienting composers I've ever heard, her exploration of inaudible subharmonics and overtones has a way of physically changing the landscape of the room her music inhabits, and it becomes difficult to sort out what the reality is between what you're perceiving and actually hearing. Jetsun Mila is deeply meditative, with some passages conjuring the random patterns of bells blowing in the stark mountains and valleys of Tibet, while others have the sustained power and near violence of Tibetan ritual horns. Her genius is that she achieves those effects through allusion rather than mimicry, trusting in the listener's ability to pursue the truth just as Milarepa did with his inscrutable words of wisdom."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
LCD 2061CD
|
2021 restock. Originally released on Lovely Music in 1986. Maggi Payne's musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. On one cut, multi-tracked voices shift in and out of phase, creating alternately shimmering and percussive patterns; on another, digital delay and 32 separate flute tracks create a rain forest where instruments call to each other like chrome birds. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not "pretty", an irresistible beauty. Personnel: Maggi Payne - flute, synthesizers electronics.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MM 118LP
|
"South Africa's lost jazz history contains many an overlooked classic. But even within that hidden tradition, there are few albums that suffered such an unlucky fate as Spring, the monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder. Though Shihab was only twenty-two when Spring was recorded, he was already a lynchpin of the Cape Town scene, and the album was to be his first major statement as leader and composer. It is a magnum opus gilded by the presence of the upcoming saxophonist Winston 'Mankunku' Ngozi, who was soon to find huge acclaim with the hit album Yakhal' Inkomo. Three months of touring southern Africa in 1968 honed the band to the point that this entire album was recorded within the just two hours of allocated studio time. This album was repressed just once before the master tapes were destroyed by an ignorant record company executive. While it has remained out of print since then, the album was 'kept alive' as an 'add-on' to a 1996 CD of Mankunku's Yakhal' Inkomo. As a result, many modern jazz lovers still incorrectly believe these five compositions come from Yakhal' Inkomo. With this edition of Spring, Matsuli Music corrects an historic wrong. This edition of Shihab's stunning debut, produced with the blessing of the man himself, is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NW 80651CD
|
Restokced. "This historic recording features the first-ever release of the two earliest surviving recordings of David Tudor's seminal work, Rainforest. Sandwiched in between are six keyboard works by Gordon Mumma in recordings featuring the composer and his close collaborator, Tudor. In early 1968, Merce Cunningham created a new dance whose apparent impetus was Colin Turnbull's The Forest People, with its account of life among the Mbuti pygmies of the Ituri Forest in Zaire. For the music, Cunningham turned to Tudor and for the first time asked him for an original work. When he learned that the dance was to be called 'Rainforest,' Tudor said, 'Oh, then I'll put a lot of raindrops in it.' Raindrops were just the beginning: using audio transducers originally designed by the Navy for hearing under and above water simultaneously -- eight small objects programmed with signals from sound generators, phonograph cartridges, and two sets of speakers -- Tudor created a world of sound in perpetual but unpredictable motion, a steady state at once abstract and evocative. The first recording, made from the Teatro Novo orchestra pit on July 30, is an excellent document of the sound character of Tudor's 'Rainforest' work when it was performed with the Cunningham Dance Company in those early years. The second recording documents the first concert performance of 'Rainforest', in March 1969, several months after the Rio de Janeiro dance performance. The venue was a large conference space at Cornell University, Ithaca, New York. The equipment was set on tables in the center of the space, with the audience seated around the performers. Four separate channels of sound were used and widely spaced, with two in the foreground and two in the background. The sound sources had also expanded from the earlier Cunningham performances, with Tudor now adding recordings of small sounds from insects and birds, in conjunction with the previous electronic sounds, all modified by his acoustical resonant devices. Gordon Mumma's 'Gestures II' and the 'Mographs' are two sets of pieces for two pianists, composed between 1958 and 1964. During the 1960s Robert Ashley and Gordon Mumma toured with their concerts of New Music for Two Pianos, including parts of 'Gestures II' and some of the 'Mographs.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROKURE 009LP
|
Originally recorded and released in 1980, Six of One beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from Saxophone Solos and with circular breathing and polyphonics well-worn into his live performances, Parker's experiments here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning. Transferred from the original master tapes by Thomas Hall at Abbey Road Studios and released in an edition of 500.
"The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker's compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It's a feat he's accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There's also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." --Derek Taylor, All About Jazz, 2002
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROKURE 010LP
|
OTOROKU reissue Evan Parker's first solo LP Saxophone Solos. Recorded by Martin Davidson in 1975 at the Unity Theatre in London, at that time the preferred concert venue of the Musicians' Co-operative, Parker's densely woven and often cyclical style has yet to form; instead throaty murmurs appear under rough-hewn whistles and calls -- the wildly energetic beginnings of an extraordinary career. Reissued with liner notes from Seymour Wright in an edition of 500.
"The four pieces across the two sides of Saxophone Solos -- 'Aerobatics 1' to '4' -- are testing, pressured, bronchial spectaculars of innovation and invention and determination. Evan tells four stories of exploration and imagination without much obvious precedent. Abstract Beckettian cliff-hanging detection/logic/magic/mystery. The conic vessel of the soprano saxophone here recorded contains the ur-protagonists: seeds, characters, settings, forces, conflicts, motions, for new ideas, to delve, to tap and to draw from it story after story as he has on solo record after record for 45 years. 'Aerobatics 1-3' were recorded on June 17th 1975, by Martin Davidson at Parker's first solo performance. This took place at London's Unity Theatre in Camden. 'Aerobatics 4' was recorded on September 9th the same year, by Jost Gebers in the then FMP studio in Charlottenburg, Berlin. Music of balance and gravity, fulcra, effort, poise, and enquiry. Sounds thrown and shaken into and out of air, metal and wood. It is -- as the titles suggest -- spectacular." --Seymour Wright, 2020
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PC0APPLE
|
The notion of pure, classic songwriting is one of the core aspects of Apple and "Oh Yeah" is A.G. Cook's most direct attempt. The track begins with his untreated vocals placed atop a strummed acoustic guitar singing the entrancing main hook. The video is just as open: Cook is front-and-center performing the song directly to camera. Cook says "the song itself -- like most pop music -- is really about confidence and escapism, and how bittersweet those things can feel." Cook further states: "Apple is my own take on Personal Computer Music. I've always been interested in the blurred line between bedroom and professional studio production, and at what point a personality either gets created or accidentally takes shape. For me there's a great sense of freedom in combining something slick with something naive -- a reality where anything could happen. In calling the album Apple, I wanted to draw attention to one of the simplest, most everyday objects, which somehow contains references to almost everything imaginable -- from computers to The Beatles, New York to Snow White, and an entire world of history and mythology. A little free advertising doesn't hurt" 7G's seven instruments (drums, guitar, supersaw, piano, Nord, spoken word, extreme vocals) form the sound palette of Apple. Described by Cook as "threatening to be an instrumental producer album, then becoming a songwriter album," the album features some of his most ambitious and emotional songwriting, as well as his most vivid sonic ideas as a producer. Together, 7G and Apple showcase Cook's sheer breadth of ideas, and illustrate why he's one of the most vital artists working today. Double embossed gatefold sleeve with metallic ink 12-page silver booklet; also includes 24x36 inch double-sided poster and download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SNDW 008LP
|
...The Powerhouse of Colombian Music 1960-76. Limiited restock. 2011 repress on vinyl! Double LP version, in deluxe gatefold jacket. Soundway Records presents the tropical sound of Colombia. From the salsas and descargas of Cali, Medellin and Bogota to the Afro sounds and raw cumbias of Cartagena and Barranquilla, this is the sound of Colombian dancehalls and clubs in the '60s and '70s, when the legendary Discos Fuentes record label led the way. The sounds emanating from the barrios and beaches of Colombia are a unique mixture of Latin sounds and Afro rhythms, drawing influences from the New York and Puerto Rican Latin scenes, the highlife and rumba of West Africa and the calypso of the Caribbean, as well as the tropical rhythms of the Colombian cumbia, gaita, fandango and porro. Driving percussion, swinging horns, hot pianos and jumping bass lines -- this music was made for dancing.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SV 058LP
|
2021 repress, black vinyl. "Animated sci-fi masterpiece La Planète Sauvage (aka Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes, and strings. While the lush arrangements are reminiscent of Goraguer's collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd's Obscured by Clouds and Broadcast's Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin, and David Axelrod."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SV 113LP
|
2021 repress. "Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single ('Totally Wired'), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording. 'Pay Your Rates' negates the notion of easing into things, opening the album with pure jitter, guided by hornet-buzz guitars and Mark E. Smith's commanding shout, allowing for breath only during the brief, lumbering waltzes that appear at unexpected intervals. 'New Face In Hell' is an entirely alien take on dancehall post-punk - a kazoo-driven rave-up that holds an unshakable position in the band's canon. Many significant firsts surround Grotesque, including The Fall's inaugural production partnership with Mayo Thompson and the debut of Suzanne Smith's wonderful artwork, both of which would play key roles in the band's following phase. Superior Viaduct's edition is the first time that Grotesque has been available on vinyl domestically since its initial release in 1980. Liner notes by Brian Turner."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SV 129LP
|
2021 repress. "American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early 1970s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic. Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen). Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice, converging in an immersive realm of Curran's inner / outer experiences. This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SV 151LP
|
2021 repress. "Spacemen 3 began assembling their third album, 1988's Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions' first offering came in the form of 'Revolution,' a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3's crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock 'n' roll. An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like 'Suicide' (named after the notorious NYC band) and the mesmeric 'How Does It Feel?' catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter. Includes download card and new insert with liner notes by Marc Masters."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SV 153LP
|
2021 repress. "August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as 'An Evening Of Contemporary Sitar Music' (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film Wings Of Desire. Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the 'Sweet Sister Ray' of '80s Britain. Their signature sound is at once recognizable and disorienting -- pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic Playing With Fire album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects. Includes download card and new insert with liner notes by Will Carruthers."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
TRILOGY 094EP
|
"Snoopy's epilogue. Cello by Judith Hamann. Lap steel by Dan Luscombe."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
UM 106LP
|
"The Band That Can Do Anything -- that's the literal English translation of the name of a band whose creativity, productivity and influence ran far and wide during the notorious era of racial oppression in South Africa. The Makgona Tsohle Band was easily the most popular and highly productive instrumental team in the African music business of the 1960s and '70s. Assembled by formidable talent scout and producer Rupert 'Bops' Bopape, Makgona Tsohle provided musical accompaniment on literally hundreds of Gallo recording sessions, as well as creating some of the biggest dance hits of the era. They are often credited with the invention of that staple township music, mbaqanga. A big boast -- but only a slight embellishment. Makgona Tsohle's members were utterly crucial to the style's formation and development, reinforcing the more modern, danceable, electrified jive as the leading force in township music until the mid-1970s. Makgona Tsohle Reggi was issued only once, in May 1970. It quickly became a collector's item. This sought-after album now makes its welcome return to African record stores as well as its debut in the international market. The stunning diversity of the Makgona Tsohle Band's musical genius spans pure sax jive through to swinging '60s soul, ska and even hints of rocksteady and 'reggi'. This is the authentic sound of Soweto as demonstrated by the experts!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
VAMPI 161LP
|
2021 restock, originally released for Record Store Day 2015. The third volume in Vampisoul's R&B Hipshakers series available on LP for the first time, featuring rockin' R&B and early soul from the King/Federal/DeLuxe catalog. Twenty terrific dance cuts from 1955 through 1964 selected by genre expert Mr. Fine Wine of WFMU's Downtown Soulville. "Here is what we dug: Drummer Cozy Cole's cymbals on 'Cozy's Mambo.' The same track would come out again three years later on King's Bethlehem subsidiary as 'Cozy and Bossa' to capitalize on the burgeoning bossa nova craze... New Orleans native Linda Hopkins's wails on 'Mama Needs Your Lovin' Baby'... the clippety-cloppety rhythm of Earl King's 'Old Faithful and True Love,' one of the earliest recordings on here, from 1955... (NB: This is Earl Connelly King, not the better-known New Orleans singer-songwriter-guitarist Earl King)... the galloping tempo of 'She's Mine,' by the rock & roll cowboy, Joe Tex -- just his third solo single out of several zillion. The whistled response to Mel Williams's lead vocals on 'Send Me a Picture Baby,' and practically everything else about this song, one of our favorites. The brilliant arrangement of Eugene Church's version of 'Sixteen Tons': those bass vocals, those sloppy finger snaps, the chorus of whomp-whomps. The lip-smacking cry of 'rib tips!' amid The Drivers' enumeration of skeletal components in 'Dry Bones Twist.' The irresistible swing of super-prolific keyboard man Bill Doggett's 'Hold It.' Lowman Pauling's electric (in every sense) guitar on 'Solid Rock' [by El Pauling and the Royalton]... All of the voices, especially Hank Ballard's, on 'Nothing But Good' [by Hank Ballard and the Midnighters]... Billy Gayles's caveman attitude in 'Take Your Fine Frame Home'... Jackie Brenston's hoarse, pissed-off kiss-off: 'Much Later' [with Ike Turner's Kings of Rhythm]... the slinky beat of 'Thanks Mr Postman' [by Bobby King]... All that percussion on 'Don't Play with Love' [by Little Willie John]... the tightly wound tension of guitar superstar Freddy King's 'In the Open'..." --Mr. Fine Wine. Also includes tracks by Jimmy Peterson, The King Pins, Tiny Topsy, The Mystics, and Harem Girl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
W25 013LP
|
2021 repress. "For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. 'Singers like Patsy Cline and The Supremes carried me through the hardest times of my life,' explains Flegel, 'and also provided the soundtrack to the best times.' Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies -- a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder. What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide. Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer/drummer's early recordings as well as her look and style. 'I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown.' What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song 'Heavy Metal' (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked."
|
viewing 1 To 22 of 22 items
Next >>
|
|