Human cattle like a beef avalanche, right on your burned out face hole. Spider legs fuzz crawling in your brain. Lots of curse words for your mom.
What else are you gonna do? Stare at the sky? Please… 50 carbon copies of you look back at you as you walk the streets. For fans of fried prog burn out, squished old-school drool, double drums, lead weight bass, wizard keys now with poison , old-ass guitar and horrible words with daft meanings. Back to the comments section with you! Easy Over and out - John Dwyer. It's no surprise that Dwyer has formed a brilliantly heavy but perfectly nuanced mix of production perfection and instrumental devastation.
Everything you'd imagine, and some stuff you probably wouldn't. Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved -- heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses -- with some of her finest songwriting to date.
It's an album full of romance, an homage to Los Angeles, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow.
Brilliantly produced and brilliantly written throughout, this is sure to go down as her best LP to this point, a dreamy triumph. Brian Jonestown Massacre burst into with the release of their 18th full-length album, just 7 months after their last one. Highly recommend! Aldous Harding releases her third album, Designer. Designer finds the New Zealander hitting her creative stride.
After the sleeper success of the internationally lauded Party, Harding came off a date tour last summer and went straight into the studio with a collection of songs written on the road. Beautiful stuff. Etching on the 6th side. Tri-fold LP jacket. Housed in printed plastic sleeve. A companion short film with the same name will also be released with music by The National and inspired by the album.
Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The former is not the video for the latter; the latter is not the soundtrack to the former. The movie was composed like a piece of music; the music was assembled like a film, by a film director.
Then around the mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Cat Number Release date 26 Jul ' Here it is! It continues with more of Gibbs' unmatchable, poignant and downright filthy commentary on lifestyle choices of the rich, holding and criminal with his misogynistic humour not necessarily to everyone's taste but hilariously quick, observant and on point throughout much of the LP.
Madlib's schitzo-frenetic beats switch up quicker than the 49's backline, full of crate-dug crackle and a historic presentation of blacksploitation in the 21st century. Shop favourite, production genius and all round sweetheart Martin Brew makes a welcome return to our humble shelves under his J-Walk moniker, bestowing upon us the sublime summer sounds of his new LP "Mediterranean Winds".
As the title would suggest, this deeply Balearic affair cuts the engine and unfurls the sails, trailing a coastal triangle from Capri to Cannes to Calpe. As J-Walk welcomes us into his personal paradise of openhearted melodies, delicate texture and cinematic beauty, we're met with dubby lilt "Tramontana", "Poniente" and "Le Mistral" , soulful chug Libeccio" , relaxed house "Ostro" and slinking synthery "Sirocco".
It's lush and lovely stuff, perfect for breakfast on the terrace, afternoons by the pool or a sunset stroll, cocktail in hand on each occasion. Sonic bliss folks. Hardcore Balearic with hints of dub, mellow house and slinky funk - cocktails not included House Hush Money.
It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.
I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control.
Mild - delicious. This is perhaps the most concise body of work I have written to date. The level of articulation in these tracks surpasses anything I have utilized before.
Drawing a flawless line between game soundtracks, rawkous EDM and the slowly building electronics of dancefloor trance or the incremental atmospheric accentuation of 70's prog. Indescribably mad, but thoroughly addictive. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries.
In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. Lillie Mae will debut songs from Other Girls live this summer, as she supports the Raconteurs across the west coast. She will also join Robert Plant on tour, both opening for him and playing in his band.
Stunning stuff. As in the past, Duterte recorded at home and remained the sole producer, engineer, and mixer. Inspired by the lush, poppy sounds of 80s bands such as Prefab Sprout, the Cure, and Cocteau Twins—as well as the ecstatic guitarwork of contemporary Vancouver band Weed—Anak Ko sounds dazzlingly tactile, and firmly present.
The result is a refreshingly precise sound. Warmduscher return. Heavy metals. Disco Peanuts. CCTV in the break room. A little something to get you through the week. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback.
Try it with the boom bap tapenade. Here for a good time, not a long time. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment — the refusal of exploitation.
Warmduscher continue to live on their razor-sharp wits. Delivering the goods you never knew you needed. Warmduscher succeed just as easily at hypnotic indie-rock as they do anthemic dancefloor tackle.
Never a dull moment, and every one as brilliantly done as the last. That was pretty far out but this seems otherworldly! It turns out we have a major shared interest and a shared modular dealer to boot. The Utopia Strong, in which he's joined by some of the most legendary names in psych music history is a wonderful LP, rife with growling modular, flickering arps and Kosmische glory.
Cat Number Release date 1 Nov ' It signals, for one thing, a swift, pointed rejection of the stage personas that artists have historically donned as both a freeing creative mask and a protective shield.
It is an act of cultural affirmation and self-acceptance: a young British-African, contemplating the continued struggle for racial equality, and proudly celebrating the Ugandan name his old teachers in Muswell Hill would struggle to pronounce. It skilfully crosses the streams of the personal and the political.
No other name would really have done. But I have thought previously, would I sell more records if my name had an easier ring to it?
I can just be Michael Kiwanuka. Early Los Angeles sessions — in May, — proved wildly productive. Maybe, in fact, too productive.
And that excitement and childish imagination really helped me forget that it was a scary process. And he even allowed himself to be coaxed towards stretches of musical terrain that he would never have ordinarily explored.
Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV —— Zachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [vocals, bass], and Ben Newman [drums] —— personally inhabit the recesses of their third fulllength album, Deceiver. A whirlwind brought DIIV here. Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road.
During a tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. What is this disease? I can see the change. Swathes of distortion and echoing guitars are expertly laid down before Cole Smith's hypnotic vocals make their mark, coalescing into a lysergic, shoegazing maelstrom.
Elena Tonra, guitarist, vocalist and lyricist of Daughter, has announced details of a solo project. In every scenario, there's either the person in memory or the noticeable absence of that person in the present moment.
I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes.
He is only felt as a ghostly presence. Cat Number Release date 1 Feb ' In the clip of an older Eartha Kitt that everyone kicks around the internet, her cheekbones are still as pronounced as many would remember them from her glory days on Broadway, and her eyes are still piercing and inviting.
She sips from a metal cup. The wind blows the flowers behind her until those flowers crane their stems toward her face, and the petals tilt upward, forcing out a smile. A dog barks in the background. When the laugh dies down, Kitt insists on the same, rhetorical statement.
Until it holds the very answer itself. There is a lot of talk about black people in America and lineage, and who will tell the stories of our ancestors and their ancestors and the ones before them. But there is significantly less talk about the actions taken to uphold that lineage in a country obsessed with forgetting. There are hands who built the corners of ourselves we love most, and it is good to shout something sweet at those hands from time to time.
Woods, a Chicago-born poet, organizer, and consistent glory merchant, seeks to honor black people first, always. And so, Legacy! A song for Zora! Zora, who gave so much to a culture before she died alone and longing.
A song for Octavia and her huge and savage conscience! A song for Miles! One for Jean-Michel and one for my man Jimmy Baldwin! More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them.
Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever.
Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these.
Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.
The song titles are named after inspiration black people in creative industries and in her lyrics incorporates their experiences and how they came to be. The album is truly beautiful and holds the same strength and passion as her debut, Heavn. Fans of Fleetwood Mac, Peter Gabriel, Grace Jones, Arthur Russell, Jam Hammer, Prince and Bobby O will find much to like, but this is clearly modern music, where heavy clubs beats are layered-up with perfectly-placed arrangement, ace playing and stratospheric soundscapes.
What came out on several tracks was Brexit, the state of UK politics and the way I feel about divisive, abhorrent manipulation by certain media outlets. I feel very angry and frustrated, but sometimes have to laugh at myself, because I struggle to articulate my feelings in normal conversation. I suppose lyrically it is political, a reflection of the times, but with a twist of humour and always a lot of love,' explains Danielle. Ok but what do we think? Obviously, it's quite bitter sweet hearing Dani express herself this way; as their music has always sought to uplift and elevate through the optimistic and energetic vibe of disco's past glories.
Don't worry though, the music still shines, and the grooves are here to make you wobbly, dance and jump; but look beyond that and there's some inspired lyrical genius contained within.
And for that we have to applaud Danielle - it'd be very easy to ignore the current world situation and bury your head in a sand of instagram posts and self-indulgent tweetings. Instead Danielle, and the rest of the band of course, have taken the moral stand and addressed the issue. When musicians have the platform and influence that they do, Dani almost makes it seem criminal that on the whole the music community doesn't do more to change things. Here's to the revolution! The recordings on Oneness date from Jan, March and September and were born from a period of experimentation as Halsall first began to explore the music that would provide the inspiration for his spiritual jazz recordings Fletcher Moss Park and When the World Was One.
They also offer an intriguing snapshot into the birth of Halsall's Gondwana Orchestra and feature many musicians who would go on to become a key part of Halsall's musical journey, such as harpist Rachel Gladwin, bassist Gavin Barras and saxophonist Nat Birchall.
The recordings sat in the Gondwana Records vaults for over a decade before Halsall felt it was the right time to share them. Asked about the recordings Halsall says: "I've always treasured these recordings and loved how vulnerable, open and free they are, but I just felt they were too subtle and sensitive to release early on in my career, so I held them back until now.
I also feel now is the right time to release these before I begin a fresh journey with a new bunch of musicians. The sessions that make up Oneness capture Halsall in the process of building a new band, reaching out to various musicians he'd discovered and admired on the Manchester, Liverpool and Leeds music scene. The album's title, Oneness, speaks to both Halsall's conviction that the planet should be shared equally with all of its inhabitants.
That no human being or other inhabitant deserves to exist more than the other and that we can achieve far more together than against each other. And also importantly to what Halsall was aiming for musically: "I really believe in Oneness and I've always loved the term 'greater than the sum of its parts'. I could make music on my own and live a fairly isolated antisocial life, but there's something far more rewarding about creating things with others.
And for me these sessions document the coming together of lots of different musicians in a wonderfully organic soulful way to make egoless music". Micha Moor - Upbeat The Migrants - I Thought That Ministry Of Sound - Gotta Move Out Of Office - Hands Up Space Cowboy Feat. Nadia Oh - My Egyptian Lover The Stafford Brothers Feat. Tyken Feat. Awa - Every Word Ultra DJ's Feat. DJ Shadow - untitled DJ Shadow - Mutual Slump DJ Shadow - Organ Donor DJ Shadow - Changeling [original demo excerpt] DJ Shadow - Soup DJ Shadow - Mutual Slump [alternate take without overdubs] DJ Shadow - Napalm Brain [original demo beat] DJ Fresh - Nervous feat.
Mary Byker MC Darrison DJ Fresh - Babylon Rising feat. DJ Fresh - Closer vs. DJ Shadow DJ Fresh - X Project DJ Fresh - The Immortal DJ Fresh - Funk Academy DJ Fresh - Throw Intro DJ Fresh - Throw feat. Neil Tennant Rage Against The Machine - Vietnow Rage Against The Machine - Revolver Rage Against The Machine - Snakecharmer Snow Patrol - Hands Open Snow Patrol - Chasing Cars Snow Patrol - Shut Your Eyes Snow Patrol - Headlights Snow Patrol - Open Your Eyes Snow Patrol - Finish Line New Young Pony Club - Grey New Young Pony Club - F.
Cake - Frank Sinatra Cake - The Distance Cake - Open Book Cake - Daria Cake - Race Car Ya-Yas Cake - I will survive Cake - Stickshifts and Safetybelts Cake - Perhaps, Perhaps, Perhaps Cake - It's Coming Down Cake - Nugget Cake - She'll Come Back to Me Cake - Italian Leather Sofa Cake - Sad Songs and Waltzes The Dust Brothers - Main Titles The Dust Brothers - Corporate World The Dust Brothers - Ikea Man The Dust Brothers - Marla The Dust Brothers - Calling Jack The Dust Brothers - Medula Oblongata The Dust Brothers - Stealing Fat The Dust Brothers - Chemical Burn The Dust Brothers - Homework The Dust Brothers - Commissioner Castration The Dust Brothers - Car Crash The Dust Brothers - Planet Tyler The Dust Brothers - Latte Thunder The Dust Brothers - Abort Mission The Dust Brothers - Garage Fight Deep Dish - Flashdance Radio Mix Aesop Rock - Float Aesop Rock - Big Bang Aesop Rock - Garbage Aesop Rock - I'll Be Ok Aesop Rock - Breakfast With Blockhead Aesop Rock - Basic Cable Aesop Rock - Fascination Aesop Rock - Oxygen Aesop Rock - Skip Town Aesop Rock - 6B Panorama Aesop Rock - Lunch With Blockhead Aesop Rock - Spare a Match Aesop Rock - Attention Span f.
Vast Air Aesop Rock - How to be a Carpenter Aesop Rock - Prosperity Aesop Rock - No Splash Aesop Rock - Drawbridge f. Dose One Faithless - Insomnia Faithless - Mass Destruction Faithless - Don't Leave Faithless - Muhammed Ali Faithless - We Come One Faithless - Reverence Faithless - Salva Mea Faithless - One Step Too Far Faithless - Bring My Family Back Faithless - Tarantula Faithless - Fatty Boo Faithless - I Want More Rolling Stones - street fighting man Rolling Stones - gimme shelter Rolling Stones - i can't get no satisfaction Rolling Stones - the last time Rolling Stones - jumpin jack flash Rolling Stones - you cant always get what you want Rolling Stones - 19th nervous breakdown Rolling Stones - under my thumb Rolling Stones - not fade away Rolling Stones - have you seen your mother baby Rolling Stones - sympathy for the devil Rolling Stones - mothers little helper Rolling Stones - shes a rainbow Rolling Stones - get off of my cloud Rolling Stones - wild horses Rolling Stones - ruby tuesday Rolling Stones - paint it black Rolling Stones - honky tonk women Rolling Stones - its all over now Rolling Stones - lets spend the night together Rolling Stones - Start Me Up Rolling Stones - Brown Sugar Rolling Stones - Miss You Rolling Stones - Beast Of Burden Rolling Stones - Don't Stop Rolling Stones - Happy Rolling Stones - Angie Rolling Stones - Shattered Rolling Stones - Fool To Cry Rolling Stones - Love Is Strong Rolling Stones - Mixed Emotions Rolling Stones - Stealing My Heart Rolling Stones - Tumbling Dice Rolling Stones - Emotional Rescue Rolling Stones - Losing My Touch The Mars volta - Cygnus The Mars volta - The widow The Mars volta - L'via l'viaquez The Mars volta - Miranda that ghost just isn't holy anymore The Mars volta - Cassandra geminni The Mars volta - Tarantism The Mars volta - Plant a nail in the navel stream The Mars volta - Famine pulse The Mars volta - Pisacis phra-men-ma The Mars volta - Con safo The Mars volta - Multiple spouse wounds The Mars volta - Sarchophagi Ohio Players - Love Rollercoaster Greg J - Love to Funk Ministry Of Sound - Watchin' Ministry Of Sound - Boogie 2Nite Ministry Of Sound - Put'em High Ministry Of Sound - Same Man Ministry Of Sound - Dancin Ministry Of Sound - Dirty Ministry Of Sound - Reaction Ministry Of Sound - Speechless Ministry Of Sound - Fade Ministry Of Sound - Sun Science Ministry Of Sound - Your Body Ministry Of Sound - Love Sensation 06 Ministry Of Sound - Tell Me Ministry Of Sound - Insatiable Ministry Of Sound - My Life Ministry Of Sound - Rise Up Ministry Of Sound - My Boo Ministry Of Sound - One Man Eminem Young Buc Tony Yayo Nate Dogg The Postal Service - Sleeping In The Postal Service - Nothing Better The Postal Service - Recycled Air The Postal Service - Clark Gable The Postal Service - Natural Anthem Sasha - Xpander Airwave - Another Dimension Armin van Buuren - Sunburn Dee Dee - Forever Ferry Corsten - Punk Original Mix Livio Tracks - Perpetue Lunn And Janes - Conspiracy Marco V - Godd Marco V - Indicator Grinder Remix Marco V - Revolt!
Mesh - Trancefixion Original Morb - Tornado Nova - Existence Pablo Gargano - Absolution Wintergalactic Mix Plastic Boy - Silver Bath Punk Kidz - Chocolate Room Ricky Effe - Rectifier Yahel - U Inside Yunus Guvenen - Ways Of Life Rare - Jungle Ambiance Goldeneye - Intro Goldeneye - Dam Goldeneye - Facility Goldeneye - Runway Remastered and coming with a poster plus a booklet filled with lyrics, notes and pictures. Besides a unique rhythm section, you can look forward to beautiful melodies and variative compositions fitting perfectly to a festival sunny afternoon.
A massive, swirling Hammond Organ by Winnie Rimbach-Sator also plays keys with Treacle People is in communication with excessive Stratocaster guitar solos melting into unexpected orgies of sounds.
The production sounds natural and grew from a free concept to a strong compact album of 65 mins intense music. The CD digipack contains nice artwork and an 8 page booklet. The CD insert also features colour reproductions of the movie's promotional artwork. I mean, the artwork is super-cool. However, one change of letter gives it away if you ain't payin' attention. It's the notion of what a soundtrack would be like to an imagined surfsploitation flick". With their line up of people they play their a brand of psychedelic jamming influenced by various progressive and experimental genres as well as jazz and American folkrock.
Is it punk? Is it psych? The groups sound shows a lot of affection for 60s Acid Garage Rock and with a swirling instrumentation that combines Fuzz guitar and bass, Farfisa compact organ and harmonized singing their music is refreshingly different from the ruling monotony in the current rock scene! The 12 Magnificent Brotherhoods songs are like a fresh breeze because they couple rawness, freshness and energy with refined psychedelic details and flawless hits You can call the four guys the saviors of the non-electronic dance party, to bring a decent 60s style freakout party to your home or dancefloor!
The CD is presented in a triple fold digi-package. Not many bands today present the revolutionary 60s sound that authentic than this band does! Three Parlophone singles were recorded in a few months and the band also began to work on an album at Abbey Road studios. But something went wrong and the LP was apparently shelved, gaining instead an incredible Uruguayan release on local Emi-Odeon label, without any involvement and knowledge from the band. This CD contains all the best Mayfield's Mule recordings, drawing from both the singles and the album.
The music is basically rock but with hints of prog, blues, rural and even a bit of soul thrown in. The 12 pages booklet features the band's detailed story, with never-seen-before photos and Mayfield's own anecdotes. Originally released in on the legendary Victor SF series documenting outsider folk activities in Japan, this is one of the hardest Mikami LP's to track down, apart from his first two albums. This record sees Mikami returning to his home base, the northern prefecture of the bone-chillingly cold and weather beaten Aomori, delivering an intimate performance where he accompanies himself just on guitar with no back-up.
He wails out elegiac songs with enough conviction to strip the paint of the walls. But at the same time it is possibly - partly due to his return to the motherland after having spent so much time in the concrete jungle of the capital - his most private statement to date, loaded with cries of sorrow and grief, introspective mind trips and venomous laments that suggests he cries his heart out for dead souls and lost memories.
In other words, his performance squeezes the last whiff of air out of your longs, leaving you exhausted and emotionally distressed. Great, only superlatives do him justice, all time possible highest recommendation.
By the way, the audience response in the small theatre is great and provides at times the ideal backup for his songs. You have to hear it in order to believe it Highest recommendation as goes for all Skystation titles. The vinyl version has an exclusive fold out poster and the first copies are coming on coloured vinyl.
Plus, 2 live tracks from during their 'Hight Time' best! To put it in a genre Highly addictive melodies, with emotional vocals, pulsating beats with floating conga rhythms, soaring electric guitar, whirling Hammond Organ, and a punchy Horn-duo, create powerful arrangements to set your home stereo ablaze.
This release tells the story , musically, but also in extended linernotes, and rare photos 20p. But now you hear it, remastered to a fresh dynamic sound from the original sesssion tapes. The trio from NL, Murray trumpet , Spremich drums , and Zarate took a huge part in helping to create the sound of Latin Rock group MALO, on their debut record, and helped that band become one of the premier Latin Rock groups of the era The music is characterized by vast use of fuzz, wah-wah guitars, flashing organ and loud drumming, sometimes they use hypnotic dreamin' melodies with freakbeat style and wild vocals, all English lyrics.
PAX became the first power rock blues outfit recorded in Peru in , but two years before, Los Nuevos Shains was the beginning in the search of that powerful sound. Now, the Peruvian label Repsychled records makes the official release which contains all their 7" singles and 4 bonus unreleased tracks in a digipack-cover.
Recorded and mixed by grand master Henrik Udd and the jams were turned into a 70 minute psychedelic music collage by Sula Basana. But, before fame and fortune beckoned, his formative years were spent learning his craft at EMI, where he rose to become assistant to legendary producer Norrie Paramor. During this time Tim produced singles by an array of 60s artists, encompassing everything from harmony pop and girly ballads to funk, freakbeat and psychedelic rock.
The best of them are collected here for the first time, along with rare photographs and extensive liner notes from Tim himself, making this collection a treat for all fans of unsung 60s music. A sound flavoured with lots of punky energy and strange Balkan folk influences. Dark, mystic moods and ghostly melodies and weird soundexperiments.
Strong instrumentation with roaring hammonds, howling harmonium and melodramatic mellotrons, farfisa and bleeding guitar leads. Drenched in Norwegian mythology and fairytales full of dragons and demons. Their music creates atmospheres and emotions throughout diverse musical influences; exploring space-kraut-rock, avantgarde stoner and psychedelia.
Serpentina Satelite with their 5 new cuts 49 mins present a raw, variative heavy spectrum plus effects and lots of spacefeeling; comparable to La Ira De Dios "Archeopterix" album, but also inspiration taken from the 70s Hawkwind, Amon D2 and Ashra Temple. Nothing to say in a diff. Version and Madripoor can be heard on V. These four teenagers present a very remarkable debut album feat. Bandleader Jared Wait-Molyneux presents his ideas of fresh "alive" Sound combined with a poetical, mystic or political message through his characteristic vocals, skilful and emotional guitar playing; but also using "exotic" instruments such as Sitar, Piano, Organ, Harmonica and Mandolin to give it a kind of Beatles "Sgt.
Pepper" feeling. For World In Sound insiders: "Seems.. Messed My Mind Up! Fascinated by his talent, he was signed for Straight records. Lucille contains 10 catchy and heavy Blues-Rock and Folk, Jeff is "playing a hard-driven and groovy bass, piano, organ and accordion and singing in a style similar to that of Jack Bruce with Cream. Simmons presented a brace of strong, harmonically sophisticated songs that have some of the explosive, multi-hued impact of the Jimi Hendrix Experience.
CD 2 Naked Angels, a soundtrack for a biker movie is a sequence of mostly instrumentals that combine melody and fuzz guitar; heavy, psychedelicate surf-rock.
This 2 CD-set presents in a 20p. The music was carefully re-mastered to sound today as fresh as it was 40 years ago, plus 2 bonustracks. Lucille was rated in Mojo Magazine as the 2nd best release on Straight Records. Strange Things Art Magazine mentions it as "the closest in execution to contemporary Mothers", but Jeffs individual talent made this album to an all time masterpiece.
Never has a musician in psychedelic RocknRoll captured the essence of deep emotion and soul like the "sideman"! Touching on jazz, pop, psychedelia and the avant-garde, musical adventurers Gary David and the Andrece twins forged a truly new and other-worldly form of music in late s LA. Assisted by renowned players including Oliver Nelson, Emil Richards and Paul Beaver, the recordings encompass astounding originals, radical interpretations of standards by artists such as Donovan and Paul Simon, and settings of well-known poems.
The set comes complete with a booklet featuring rare photographs, detailed notes by Gary David and five previously-unheard bonus tracks from They started in Kansas, The powerful sound with male and female organs, great organ and heavy guitar has a strong Jefferson Airplane feeling.
Originally recorded in , now reissued from the original masters with a detailed biography and pictures, in collaboration with the band. Having quietly played together for several years, they recently collaborated with leading US alt-folk act Whysp on a limited edition vinyl LP, The Dawn Is Crowned which appeared to rapturous reviews in October and have at last prepared a full-length collection of their material.
Tale Spin is a delightfully melodic and nuanced collection of psych-tinged acoustic pop, written and recorded in the depths of the English countryside, and sure to appeal to fans of acts such as Devendra Banhart, Joanna Newsom and Espers as well as older names such as the Incredible String Band, COB and Vashti Bunyan.
The work of a master" - theunbrokencircle. This cd release is a reissue of the LP that surfaced in June which sold out in a few months time. Recorded in June of , Trickle Down has been praised by many who've heard it and now is your chance to get a copy if you missed the vinyl platter. Austen Zuege of bluedark. They make fluid, lo-fi albums of formless cosmic music for ordinary freaks.
At times, the group sounds like an extension of Angus MacLise. On The Trickle-Down Theory of Lord Knows What, indecipherable chants come in dripping with echo; drones pervade almost everything; drums gradually rise through the songs as if the appropriate rhythms were discovered as a latent effect; and after a while, the sounds vanish. The group is part of a cosmic folk explosion or what some call the 'New Weird America'. Fabulous reissue of this 1st TMT album, completely housed in hard cover mini-LP styled gatefold sleeve, obi, inserts, all the works and digitally remastered from the original master tapes, so now you can all throw away that hideously boot done years ago by Organ of Corti.
It seems that the Taj Mahal Travellers records are on everybodys want lists. Of course some years back this disc in question was shamelessly bootlegged and released in badly reproduced cover art and matching inferior needle-drop sound quality.
So here you have the real deal with matching state of the art sound quality, if you are only familiar with the boot, you will be surprised how this disc is supposed to sound. During their active years, the TMT held site-specific concerts in remote outdoor environments, devised immersive multi-media events, and bewildered listeners via radio waves across several continents. From to , the Travellers carried out a series of events across the face of Europe, trekking all the way to India. The album here laid out before you was their first recorded sonic statement.
Spearheaded by Kosugi Takehisa, the group recorded with an impressive array of instruments: electronic violin, oscillators, suntool, harmonica, sheet iron, vibraphone, electronic trumpet, vocals and a vast array of ring modulators.
Kosugi and company deploy echo boxes with all the abandon of Eddie Hazel rocking a wah-wah pedal, lending the whole session a submerged, almost dub- like feel. Time seems to expand and contract as sound clouds drift across the stereo field like Chlorine gas presenting itself as a vapor and having its electrons raised into higher energy levels by a variety of excitations that will dispose its chlorophyll spores upon your eyelids and earlobes.
You are in for a long ride. A classic. Top notch and bang up identical reissue job by the high quality label Skystation, gatefold mini-Lp styled sleeve complete with inserts and obi. This was originally a private pressing on Terayama Shujis own Tenjosajiki label.
The disc is a soundtrack to his like-named movie, of which the title can be roughly translated as "Volume of First Love Hell". Psychedelic insanity, spoken word insertions and has included great vocal participations by sublime vocalist Carmen Maki of Blues Creation.
Great disc that rarely surfaces with everything intact. Meaning obi, fold out gimmick jacket that folds open in triple parts once you open the album jackets. Comes with pictures of Terayama, Carmen Maki and nude photographs of the main actors. John See's Lilly is certainly a psychedelic gem and introduces the world to the mystic and creative To Get Her Together which carries the influence of Seeds, Electric Prunes, Syd Barrett, Donovans psychedelic period and Joe Meek all rolled into one, feat.
Jeff is an emotive songwriter and singer taking you through a journey into his mind full of musical twists and turns with acoustic guitar rhythms over hypnotic drum and bass to tunes with electric overdrive- mindblowing fuzz. Equipment used such as a 's David Bogen amplifier, vintage organs and effects, and analogue equipment ultimately reward the listener experience.
Here is the full album with 16 songs, this album truly creates a unique-dreamy-psych-vintage experience in ! The CD version is a triple fold digipack with a 12 page booklet. One of the best discs in its genre and Tiliqua Records are totally psyched about being able to present a whole new audience with this masterpiece.
In times when people are all getting excited about media-created scenes like "New Weird America" and "Freak Folk", they seem to overlook the fact that such music was already being created decades ago.
The Tree People is evidence of such a splash of creativity that sadly enough was doomed to disappear within the cracks of obscurity.
Until now. Housed in sturdy gatefold mini LP sleeve jackets, with obi and linernotes. Approved by the Tree People and with the cooperation of Mr. Cohen himself. Limited edition CD in a jewel case. Produced and mixed by Kawabata as well. The Use Of Ashes remain one of the most elusive bands ever to come out of Holland, but nevertheless admired by many as can be judged from their worldwide releases over the years.
Ice 67 is an adventurously produced blend of the band's trademark organic psychedelia, folk and kraut with a growing touch of electro and techno.
Most copies are therefore stickered with the new name of the band, the use of ashes. This most welcome re-release unfortunately includes no additional bonus material. Collectors should note that MK's double cassette, "The wind died down", and lp "Shadow of a rose" will also be re-released by tonefloat in the imminent future.
Music for the Mind and Body We present the artistic, emotional and intensive side of music, the concept of progressive psychedelic rock. It appeared in the public consciousness for the first time in , created by the ,13th Floor Elevators". By the English psychiatrist Humphrey Osmond had already formulated: ,To fathom hell or soar angelic just take a pinch of psychedelic. On Trip In Time events, www.
It features, well remastered, fresh live-recordings as well as non-album tracks and other exclusive material. Karmic Society - Dark Star Jam , feat. Dragonwycks guitarist, T. Brehm, live Music for the Mind and body! The opener is a 24 min. A 12 page booklet presents each contributing group, all songs are remastered to a high class sound. This cd is a challenge for all music listeners who search for an innovative sound and intensity, maybe we see a few of these folks on the big stages to start the psychedelic revolution soon!
This is the 3rd Chapter of the Trip In Time Psychedelic Series, and at least as interesting as the previous ones, only unreleased material! Take a listen and be both pleasantly surprised and a just a little bit annoyed that you haven't heard these folks before.
Tracklist: With 79 minutes of professionally remastered, original recordings, the CD packs a 16 page booklet with lyrics and rare photos chosen to enhance the experience: authentic music from a golden age, timeless and still fresh, a potential masterpiece of the era, a Holy Grail for music fans! Were pretty sure you missed them the first time; heres a second chance not to be missed!
They've devoted quite a few months in the studio S. Having sold out every release they made up to date, some of them in a few months, all their previous albums are sought-after collectibles changing hands in auctions! A luxurious hard cover book edition for the limited to copies CD format including their -familiar to the connoisseurs- astounding illustrations in order to help the listeners traveling to their imaginative sounds capes.
Here's your chance to acquire one of their much desired releases in their own production supervision as always but this time with the valuable help of Greeces latest leading alternative label: Sound effect records. Second Hiro Yanagida album, with Kimio Mizutani at helm, swirling acid leads, heavy psych moves with at one point even an acidic Elvis joining the trip.
Top quality eye-popping reissue housed in hard cover mini-LP styled gatefold sleeve complete with obi and liners of this rare 3rd album by psychedelic maverick Hiro Yanagida. Original copies hardly never surface anymore so this reissue that came out years ago was a more than welcome feast. The music is also just stellar and can be best described and as a mixture between Miles Davis electric mid seventies electric period minus the horns cross-breeding with fusion and psychedelic elements, some snippets of unbridled improvisational jams and extended spun out instrumental tracks.
Swirling key changes, synth driven organic whirlpools of exotic bliss, rigid time changes, swift communicative interplay that touches on freak out jams as well as on sweet oozing interludes. A real sonic gem, and probably the best disc ever made to accompany your autumn feelings of fleeting summer lust and last upsurges of vitality before winter settles in.
One of the key recordings out of Japan 's psychedelic and progressive rock history and much in demand although never offered these days. Mega recommended. Her mind blowing vocals on the opening track, the hard-fuzzed "Snowblind", gives an early clue to her talent and range. Yester, fearing he already had peaked as a musician turned his attention to production and started working with Tom Waits, Tim Buckley, The Turtles etc.
CD comes with informative booklet with info on all tracks!! This is the live footage of the full concert of AMT Fest. Ox as well as Tsuyama Atsushi monster bass, voice, recorder, guitar , Higashi Hiroshi synth, guitar, voice , Kawabata Makoto guitar, voice , Kitagawa Hao voice , and Tabata Mitsuru freak out. Region free - limited one time pressing of copies.
The sound was recorded to sixteen-channel digital and mixed by Kawabata himself to create an astoundingly high-quality live package. Shimura Koji : drums. Limited edition of Pikachu from Afrirampo. The miraculous injection of power provided by the addition of grenade-girl Pikachu to the ranks, and the special guest appearance by Yamazaki Maso Masonna, Space Machine, Christine 23 Onna meant that this date at Bears was insanity on an unprecedented scale.
By the end of the group's set there was so little oxygen left in the venue that no one's lighter would work! This date became an instant legend, and here's your chance to witness it on DVD! NTSC, region free. Gated drives, home studio OK. Only S Photos, video or lease avail. Celebrity neighbors. Sprawling This charming 80 split- level suite hotel offers all the comforts and personal attention you would find in a traditional country inn.
Not only is he chief producer, engineer, and tape editor for the label, which has released some CDs since its formation two years ago, he is also the deal-maker and fund-raiser who makes many of its projects possible. Fine reports 60 more albums in the can, with sessions for at least 40 more planned through next spring. Like earlier Koch projects, few involve standard reper- toire. If he's contributing to the industry product glut, a situation he joins others in deploring, at least he avoids heavily traveled repertoire ruts.
Having just completed a recording of chamber music by Jongen, Ravel, and Florent Schmitt in early June with members of the Atlantic Sinfonietta, Fine was prepared to cut a set of Schutz motets in Boston, June , with the group Emmanuel Music. Bert Lucarelli will be the soloist in the lattcr's Oboe Concerto. Fine bets on No. The sales project is authorized by the Bernstein estate and the conductor's children. Award confirmed her preeminence among concert pianists.
Hailed by Fanfare magazine as "Ms. Mozart," Ms. Accompanying Ms. Lincoln's voice is the black earth, Getz's saxophone soft summer clouds. Horn's velvety voice virtually coos in the listener's ear. At albums available on cassette and CO.
Bill boa rd-'BPi Communications. Fonovisa, Fania. Though hampered by the cozy venue's atrocious sound mix, Cafe Tacuba easily glided from soulful bolero- based ballads — the seductive "Maria" could even score on U. Juan, the group's charismatic, dreadlocked front man, bounded recklessly from one side of the stage to the other as band mates Emanuel Del Real keyboards , plus brothers Quique upright bass and Joselo Range!
The MSG date is part of a nine-concert tour spon- sored by U. His- panic market In May, the former fashion designers — now perhaps best known for their medieval garb and showy choreography using hand-held fans — released "Taiyo," a slick, house-oriented album whose leadoff single is "Ruymba Samba Mambo.
During a pro- motional stop in Miami June 15, the band members con- tended that musically they plan to keep their toes in the dance arena — and the fans in their hands. The other seg- ments we're dressed in looser clothes and we dance a little more freely, without fans. The band is set to being re- cording its third album around the end of the year.
Hernandez, who arranged the film score of "American Me," has just finished producing a new al- bum for Sony's Tana Libestad. By the way, Sol De Mex- ico is the only U. Also in the studio working on autumn albums are Tony Vega and Tito Nieves.
Miami advertising agency San- chez and Levitan is expected to promote the national tour. The new product that is beginning to come from Angel — including tradi- tional American, Broadway, and avant-garde material — presents a dis- tinctly new profile as the label reaches for a larger share of the U. All lighter material, plus a batch of new midline classical compi- lations, will sport the Angel imprint. Label executives concluded that domestic growth could only come from wooing a broader public whose musical interests extended well be- yond the standard classics.
That in it- self is hardly unique among U. It is a position that reso- nates throughout the industry as multiple duplications of standard rep- ertoire glut the retail market. Angel, however, appears commit- ted to a more radical approach that will reshape the label's consumer im- age. The expectation is that any early public confusion will dissipate as re- lease patterns clarify the company stance.
The first step, recalls Murphy, was getting adequate funding support to move into and expand new repertoire areas. While Murphy will not disclose Angel's current annual recording budget, he puts it in the "several-mil- lion-dollar range," far above past lev- els. Berniker, long active as a producer of pop and show material, is charged with imple- menting Angel's new product direc- tions. Murphy says Caronia has been freed to expand his artist roster and recording program to help feed a beefed-up release schedule of 20 to 25 new front-line titles annually, begin- ning next year.
Berniker and Caronia will cooperate on such projects. In addition to new recordings, Ber- niker will spend much of his time on catalog reissues. Festival Acapulco '92 was broadcast live each day to more than million viewers. At right, Julio Iglesias. Above, festival host Raul Velasco. First vault releases on the new Angel Broadway logo are due in October. Classical midline reissues bearing various concept rubrics are also planned. The "Great American" se- ries, featuring such composers as Barber and Schuman, was launched with six titles in March, before Ber- niker joined the label.
Four more ti- tles will be released in the fall. Berniker says Angel expects to re- lease two or three new reissue series a year. New crossover recordings are in the planning stage. Among them will be packages of classical themes per formed by jazz artists and theater music performed by large orchestras in "a more classical way. On the marketing front, VP of sales Gilbert Hetherwick says the la- bel is now more cautious in choosing new product from the vast EMI worldwide pool.
He expects to main- tain a cap of about 1, titles on the active catalog for maximum sales ef- ficiency. Still, to feed specialty interests, Angel has formed a special imports facility for EMI titles bypassed in regular release.
There will be three release clusters a year, issued on a one-shot no-return, no-longbox basis. The first release of 45 titles will ship in August Hetherwick notes import titles that show unexpected sales strength may be included in regular EMI Classics releases.
Allegro Imports, which formerly handled much of EMI material by- passed for regular release domesti- cally, still retains U.
Where to get one? Ask reedman Steve Lacy. Lacy is arguably jazz's most im- passioned improviser. In fact let's lose the arguably right now. He's the one musician who pioneered the use of the sopra- no saxophone in modem jazz yes, it was he who introduced the instru- ment to Coltrane. Lacy is not casual about music, about his play. Condi- tions for accepting the money?
No strings attached. Just that he stay the genius he is. It is scheduled to ship at the end of the month. The record, we're told, is a departure of sorts for the celebrated reed man; it will feature more flute an instru- ment he recently returned to after a year hiatus , more vocalists Jef- frey Osborne, Will Downing, and George Duke are guests , and more self-penned compositions he's been developing his writing chops than any of his previous efforts.
Fairgrounds, will mark the end of one reign and the beginning, hope- fully, of another. Jimmy Lyons, who started the outdoor fest in with help from jazz scribe Ralph Gleason and developed it into a world-class attraction, is stepping down after this year. These lis- teners are well-groomed, favoring buzz culs, Ray-Bans and a post-Miles countenance of passionate dispassion At the same lime, this audience is observably while In case anyone believes that the art of Jazz- Speak originated with the insiders who lent their comments to this spotlight, one need only remember that in jazz, qualifiers rule: tra- ditional, mainstream, electric, contemporary, straight-ahead, fusion, avant-garde.
Rarely has a music had to wear dog tags for identifica- tion. And rarely have the music's purveyors — record executives, concert promoters, artists, agents, radio programmers — enjoyed a con- sensus regarding what it is they sell. Jazz has become a lot of different things to a lot of different people.
As it comes to include world music, for instance, and we continue to move toward more liberal defini- tions of what jazz is, we're going to find our- selves tapping into a broader demographic. Jinda atright in any discussion regarding today's jazz audi- ence. Old people, young people, black people, white people, people from all segments of society, from all over the country.
No one part of the population has a monopoly on this music. When the young trumpeter stepped out from behind Art Blakey's shadow at the start of the '80s, it heralded a new era in jazz, one that awaken- ed consumers and artists to the music's rich history. Jazz's musical traditions became the creative wellspring plumbed by Wynton and his musical followers, by then a virtual army of youngbloods so dubbed by the jazz press who commanded as much attention for their stage demeanor and dress code as for their playing.
These youngbloods, according to many, attracted a simi- larly youthful audience. SaysTomEvered, vice-president of mar- keting for Blue Note Records, "My feeling is that there are mostly young people buying records. But I don't think that most ofthem buy because of the tradition. They just like the way the music sounds. They like the beat. That's what keeps the art alive. The demo has shifted to a younger audience, much of that owing to the young lions proliferating on various labels.
But purchasing records is not based on political considerations or some kind of philosophical issue. If the music appeals to them on a vis- ceral level, if it moves them, they buy it. Some observers hold that because Wynton's message is extra-musical and implicitly sociological, he Terence Blanchard stimulated a consumer movement among blacks, coinciding w ith middle-class black Amer- ica's increased economic empowennenl.
Says pro- ducer and Red Baron executive BobThiele, whose involvement in the music business dates backtothelale'30s, "When I first started in jazz, the black audience wasn't there.
They looked down on the music. They felt that jazz didn't have the right kind of image for their children. The real supporters were white. George Butler. These listeners are fascinated by the music and by the styles of dress. We're seeing black publications doing music stories and fashion stories for a black readership. Now, that was a jazz audience, albeit a different one than will come out to hear Ed Blackwell. As jazz becomes institutionalized, it will grow.
Art Porter help them vent some rage? In effect, will we be seeing a return to the sound and fury of more tumultuous times, a resurgence of savage, edgy fusion music? To quote Homey D. Clown: "I don't think so. As Kevin Gore of Columbia Jazz put it, "I think fusion or electric jazz right now is in a bit of a state of uncertainty, and 1 don't think there are too many folks who would argue with me on that. In an age where pristine smile-butlon jazz dominates the airwaves, nasty electric fusion with wailing guitars and tons of ugly, dissonant chops is hardlyderigueur.
AsGuyEckstineof To be creative and cutting edge and be respec- ted within the musicians community, you're gonna end up not getting radio play. Consumers and listen- ers are staying w ith those stations.
And those records are sel- ling, there's no doubt aboulthal. So has Kirk Whalum. And yet, I think there is still an audience out there that is hungry for heavier stuff, the kind of more challenging music they grew up with in the 70s. A lot of us thought thai New Adult Con- temporary radio was going to address that, but it really hasn't.
By and large, the longer pieces that stretch out and challenge the listener, that's not what you're going to hear on NAC radio. Meanwhile, the public and commer- cial jazz radio stations have moved a way from an electric sound and more towards an acoustic-based one. So I think fusion's kind of in a crisis right now in terms of its identity. They're not jazz, they're not rock, so to radio stations, they're not anything. There is simply no radio category for this kind of music, so none of the radio stations know wtiat to do with these guys.
And yet, I personally think theres a very fanatical audience for that kind of music out there. There are rabid dogs in the audiences waiting to see thai stuff, but it doesn't get played on the radio.
And when you talk lo young musicians out there trying to get a deal, that's the kind of music they're into. They don't wanna write NAC fluff. They wanna play. His theory seemed to be borne out by what he called the "funky hard-bop regression," which followed school of thought which Parker's death, and was in turn followed by the advent of Omette Coleman, whose music Mar- tin did much to champion.
Instead of a new New Thing, we have gotten repertory orchestras, such as Gary Giddins and John Lewis' American Jazz Orchestra, and small groups dedicat- ed to preserving the works ofdeceased composers: Mingus Dynasty, Dameronia, and Sphere, the last devoted to the music of Thelonious Sphere Monk. And, of course, rampant reissues. Some think that jazz isbecoming moribund, but there is also a Deffeayo Marsalis says that the current con servatism is a good thing that it is a matter of respect for and knowl- edge of the tradition.
If this movement has a leader, it is surely trum- peter Wynton Marsalis, who unfortunately some- times speaks as though he not only acknowl- edges the tradition but discovered it, and that the tradition ends with himself. Marsalis is often aided in this enterprise by his Marlin Fitzwater, Stanley Crouch, who fosters the notion that there is no salvation outside the church.
Billboard spoke with three musicians and three record company executives to see what they thought of all this new traditionism. At the Montreux Jazz Fes- lival in , Miles Davis asked him to share solo space in a concert of the famous arrangementsGil Evans made for him in the '50s. What I'm trying to do is find something to play.
Some people say times dictate the music, but Coltrane sounded the way he did because he was Coltrane. The music came out of his body. That's what music is, it's your song. I think the media sets out to make music more than it is. Music has to advance, but that's not the reason to play it. We should try to advance as people.
Miles is my hero because he never stood still. He tried to challenge him- self. Critics are always looking for something new to happen. It's like themusiciansaren't playing the music any- more. The critics are playing the musicians. The critics didn't like Ornette, they didn't like Trane. Now they think it's innovative, but they didn't then. It's the critics who haven't evolved. I don't know what further is, but I'm trying, and maybe we'll meet.
What's on the lips of jazz record executives this year signals a profound change in philosophy: For the first time since Wynton Marsalis lead the resurgence of interest in improvised music in the early '80s, jazz labels cnced rhythm sections, learning little, rarely are channeling resources into imagine that?
Jazz activity in the '80s mirrored the society at large: Lots of spend, spend, spend, the reckless throwing of money at any dutiful student with half a chance. Anxious to satisfy the demand for young talent, major labels signed more artists than they could realistically support, and gave little thought to the experiences these just-out- of-school, often green artists were having. They sought sensations, circus sideshow prodigie- s — artists who were fully formed packages despite theiryoung years.
One after another they hit the road, playing with similarly inexperi- Dr. Michael White benefiting from the kind of interchange with the masters that has been a crucial part of the jazz development process. Most are still working to spot talent of any age, but are less likely to put a new sig- Nnenna Freelon nee onto the debut- record hampster wheel until a certain maturity is evident.
Whichmeanslhat some major labels are looking to veterans for their new-talent roster spots — though he's been active since the early '60s, Joe Hender- son, whose "Lush Life" has been an acclaimed record this year, was treated by Verve as a new artist. And, just as significantly, some of this year's most talked-about signings won't release records until One is saxophonist Joshua Redman, the son of revered saxophonist Dewey Redman, who signed with Warner Brothers after he cleared the semifinal round of the Thelonious Monk Jazz Saxophone competition earlier this year.
This way, says Pierson, the year-old Red- man can explore music at a normal, natural pace, without the demands and distractions of being a recording artist.
Those are the years that, back in the bebop time, people like him were out getting their asses kicked by older players. It's gotten far beyond music-lovers replacing their worn-out LPs with better-sounding CDs.
Now labels' strategy is to repackage formerly recorded material with never-before-issued live perform- ances, alternate studio lakes, and extensive archival notes and discography. A big factor driving the reissue boom are further developments in sound technology that provide reissues with the quality of newerrecordings. Legacy's Master Sound series will use a new technology called Super Bit Map- ping that will transfer sound from old to new masters without loss of musical information.
Labels begin their reissuing process by com- ing up with a concept for a new release and deciding what specific kinds of recordings they will need for it. The search for old masters then ensues. Michael Brooks, a producer who often works with Legacy, says he will visit Sony's record vaults at Iron Mountain, a massive stor- age facility literally built into a mountain near the Hudson River Valley of New York. If the search for masters proves fruitless there, or if the materials found are too corroded or other- wise unusable, Brooks goes to his worldwide network of collectors, one of whom, he notes, has over 1 million 78s in his collection.
In the studio, Brooks will clean the old metal masters with a solution strong enough to remove decades of grime but too weak to remove the sound quality. The masters are often negatives, which means special turnta- bles and styli are used to play them in reverse. A digital noise reduction system is then applied to remove the crackles and pops. Brooks recalls that under the old methodology — using a razor blade to cut away sections of tape that were then respliced — he once made cuts in a three-minute piece of music.
After noise-reduc- tion, equalizers arc used to remove distor- tion or to boost bass or midrange. Record companies then decide on pack- aging, liner notes, dis- cographies, and basic marketing strategies suchaspricingand release date. Join The Celebration! Ran- dall Jamail, the president of Justice Records, set up a similar apprenticeship program for his new signing, New Orleans trum- pet player Kennit Ruffins.
A member of the Rebirth Brass Band, Rufflns will make his solo debut playing trumpet — and singing in a style Jamail says is reminiscent of Louis Armstrongs — next spring. Jamail arranged for Ruffins to visit pianist and jazz educa- tor Ellis Marsalis twice weekly for the rest of the year, not only for nuts-and-bolts jazz improv instruction, but so Ruffin could "talk with Ellis about this music, and understand what it means to be influenced by this heritage.
Your job as a label is to develop these artists, to understand who you signed and help develop what is unique about them into something the rest of the world can see.
Richard Seidel, VP of Verve, believes that whether the talent is young or old, the key is to make "every new record an event: In a time where, regrettably, music alone isn't enough to sell records, when you're looking to sign people you have to make sure the other ingredients are there, too — from a press standpoint, a radio standpoint, even from the standpoint of inter- esting your own company in it" Seidel says he's pleased that signings like Horn and Hender- son — and veteran pianist Kenny Barron, whose first major-label date as a leader, a Brazilian project featuring Tonino Horta, Mino Cinelu and Victor Lewis, will be released later this year — run counter to the young-lions frenzy.
He hopes that's a sign that the industry has "become less age-ist in orientation," and says that he's looking at a number of artists of widely varying ages who might be "appropriate to what Verve represents — reinvigoration of the tradition, with an emphasis on vocals.
And the society was filled with the war, the Black Pan- thers. In that context, the avant-garde was very successful. The '80s were a neo-coitservative time, from a political point of view and also in the conservatism of the music. In the '90s, it seems to be swinging back to the left, so if there is a parallel, I'd look for music to open up a little bit. But, he cautions, "you don't want to be too far in front of the trend. I don't see the talent yet. But it's important, success- wise, to time those kinds of introductions properly — being able to do that is part of the job description.
After discovering Wynton Marsalis and many others, Butler is devoting some of his energies to The Master's Series, which will showcase the efforts of "really veteran artists — perh- aps the youngest artist is 70 years old.
And they should be heard from, they paved the way for many of the young artists. He's been listening particularly closely to vocalists these past months, and says he's discovered a woman with "all the nuances of a genuine jazz vocalist like Sarah Vaughan or Ella Fitzgerald.
After Natalie Cole's success with "Unforgettable," many labels scrambled to find a classy jazz diva or an unusual vocal concept see Atlantic's female-vocal quintet Straight Ahead. As more than one execu- tive explained, vocal music is more accessible.
Many vocalists are working out of the canon of familiar Tin Pan Alley songs. In other words, vocalists foster a high comfort level in listeners. CHAL Vs. Pharrell — Yummy [Acapella] 1A Future Vs. Swedish House Mafia Vs. Florence Welch Vs. John Newman Vs. Anne-Marie Vs. Fresch Vs. Diplo Vs. Wesley Brown Vs. Discotek Bootleg] 6A MO Vs. Miley Cyrus Vs. Vivid Vs. Eva Simmons FT. Konshens — WOW Mr. Quavo Vs. Richie Loop Vs. Octavian — New Shapes [Clean] 8A Octavian — New Shapes [Dirty] 8A Octavian — New Shapes [Instrumental] 8A Pharrell — Yummy [Instrumental] 8A Pharrell — Yummy [Intro Outro] 8A Pharrell — Yummy [Main] 1A Pharrell — Yummy [Mega Kutz] 8A Pharrell — Yummy [Snip Hitz] 8A El Alfa Vs.
Octavian — New Shapes Clean. Problem — Getting Loose Clean. Problem — Getting Loose Dirty. Akon — Right Now Vs. Kids Mashup] 6A Eptic Vs.
City Girls — Caramel [Clean] 8A City Girls — Caramel [Dirty] 8A Romysa — Warriors [Clean] 6A Sech — Sigueme [Remix] [Clean] 12A Collipark Remix [Clean] 2A Collipark Remix [Dirty] 2A Steve Aoki — Warp 1.
Remix] 1A Danileigh FT. Break Edit] [Dirty] 5A D [Moombahton] 6A Chal FT. Quintino — Shape Of You Vs. Savage Vs. Nicki Minaj — Dumb Blonde 12A J Balvin — Tudo Bom 9A Norah B. Hayley May — Fallen [Main] 2A Graves — Arcus [Extended Mix] 10A Graves — Arcus [Radio Edit] 10A Mougleta — Unlocked [Radio Edit] 9A Wizkid — Drogba [Joanna] [Remix] 10A Almighty — Khalifa [Dirty] 9A Tyga — Low Key [Clean] 10A YC Transition ] [Clean] 12A OneRepublic — Bones [Instrumental] 8B Kelly Rowland — Dilemma [Instrumental] 8B Bhad Bhabie FT.
Tabithia x Mabel Vs. King Promise — Flex [Remix] 10A Balvin FT. Tyga — Ayo [ Transition] [Clean] 2B Tyga — Ayo [ Transition] [Dirty] 2B Remember Me. This blog showcases contents solely for Promotional Purposes Only. Apart from all the FREE links that the web has shared, we encourage you to buy or purchase their music albums, it's the ONLY way to keep their music alive.
If you are an Artist or a Label and want content to be removed, do let us know. We will remove topics mentioned within 24hours. Please use contact form to address your concern. Thank you. LOG IN. Category: RnB HipHop. Select Mixpacks by genre May Select Mixpacks by genre Mar Megatraxx Remixes Vol. Feb Acapella Pack. Bootleg Pack.
Club Killers. Crooklyn Clan. Digital Music Pool. Direct Music Service. DJ City. Headliner Music Club. Heavy Hits. House Pack. Instrumental Pack. Intro Dirty. Mashup Pack. Mixshow Tools.Immortalized (Intro) Where Dem Hookaz At Ft. Tha 69 Kings Shirts Off Who Run The Streets Ft. Blue Interlude (Made In The Game) Memphis Shit Ft. Tom Skeemask My Streets Ft. Al Kapone Ya'll Soft Purp Break (Smokers Interlude) I Dont Give A Fuck My Eyes Feel Me Outro Freestyle Break 1 Freestyle Break 2.