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Rupa Biswas - Disco Jazz

Rupa Biswas

Disco Jazz

12inchNUM805LPC1
Numero Group
27.06.2023

Repress.

Barely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West. Sarod and synthesizer intricately weave around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and issued with permission and blessing of the producers and performers.

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Last In: 3 years ago
Ambiance II Fusion - Come Touch Tomorrow LP

Freestyle Records are proud to reissue Ambiance II Fusion's mid-80s fusion rarity "Come Touch Tomorrow" - originally recorded in Hollywood CA October/November 1984 and released in 1985.

Following a yearly run of 4 albums self-released between 1979 and 1982, Nigerian-born saxophonist, flutist, and clarinettist Daoud Abubakar Balewa then took a few years off before returning with 1985's "Come Touch Tomorrow", the first of two albums issued under the updated name of Ambiance II Fusion. Combining the afro-spiritual jazz & be-bop inflected fusion of his earlier work as Ambiance, this record took the project into more modern & distinctly cosmic planes with the introduction of spacey pads and drum machines working alongside somewhat tighter arrangements and solid rhythm sectons. Of particular note here is the B1 track "Boy What a Joy" on which a sublimely funky synth & drum machine throwdown is presented in prophetically lo-fi fashion - recalling recent stylistic approaches from the likes of Dâm-Funk among others.

Participating Musicians:

"AMBIANCE II FUSION"

Stanley Dominguez - Guitars

Dr. Isacc Ford - Drums/Electric Drums

Ralph Rodriguez - Percussion

Juliian Breeton - Bass

Jardin Wilson - Bass

Lee Williams - Keyboards/Syntheziers

Daoud Abubakar Balewa - Alto & Tenor Saxophone/Percussion

Larry Dominguez - Alto Saxophone

Suzanne Daniels - Vocal Sounds

"AMBIANCE II FUSION ENSEMBLE"

James "Kino" Cornwell - Keyboards

Randy Landis - Basses

Rick Smith - Percussion

Jim Lum - Guitars

Arnold Ramsey - Drums

Daoud Abubakar Balewa - Soprano Saxophone/Percussion

Recorded at Sound Images Recording Studios - Sound Images Entertainment Complex - North Hollywood, CA & Classic Sound Studios - Hollywood, CA. October/November 1984.

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X - More Fun In The New World

X

More Fun In The New World

12inchMOVLP3256C
Music On Vinyl
23.06.2023

After their their 1982 masterpiece Under the Big Black Sun, X offered their follow-up More Fun In The New World only a year later. The album was once again produced by Ray Manzarek.

X achieved new rough and rocking heights with the vicious "Devil Doll," "I Must Not Think Bad Thoughts", and "Make the Music Go Bang", while returning once again to their retro '50s roots with "Poor Girl".

More Fun In The New World is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl and includes an insert.

pre-ordina ora23.06.2023

dovrebbe essere pubblicato su 23.06.2023

Videosex - Lacrimae Christi

Yugoslavian synth-pop band Videotex formed in 1982 but settled on its more lasting line-up in 1983 with Anja Rupel on vocals, Janez Kriaj playing bass, Iztok Turk drumming, and Matja Kosi and Nina Sever both on keys. A year later they broke through with their Videosex 84 debut album and then had another local hit with the follow-up, 1985's Lacrimae Christi. It now gets a first-ever international release, all remastered and on nice heavyweight vinyl. The group had plenty of mainstream hits - two of them are on this album in the form of 'Sivi dan' (or Gloomy Day) and 'Tko je zgazio gospo?u mjesec' (or Who Ran Over Mrs. Moon), played some big concerts and even appeared on national TV before eventually splitting up in 1992.

pre-ordina ora13.06.2023

dovrebbe essere pubblicato su 13.06.2023

Rupie Dan - My Black Race

Rupie Dan

My Black Race

12inch333004
333
12.06.2023

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

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The Paragons - Now

The Paragons

Now

12inchLANR024
Lantern Rec.
10.06.2023
 
5

Reissued on vinyl for the very first time, the third Paragons album, originally released in 1982 on the UK reggae label Starlight. All songs are backed by the Aggrovators, the Bunny Lee’s house band, that includes Sly & Robbie, the Barrett brothers - both also with Bob Marley & the Wailers - Jackie Mittoo, Earl “Chinna” Smith, Winston Wright and many others. Produced by Bunny Lee, mixed by Prince Jammy. “Now” marked the Paragons return to the scene, in a big way. Great vibrations, dreamy melodies, a roots reggae masterpiece.

pre-ordina ora10.06.2023

dovrebbe essere pubblicato su 10.06.2023

Korpses Katatonik - Subklinikal Leukotomy Aphrenia Spasmophilik Lyssophobo Asphyxia Sinister Lethal Anorex

Subklinikal Leukotomy Aphrenia Spasmophilik Lyssophobo Asphyxia Sinister Lethal Anorex LP/CD

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire.

pre-ordina ora31.05.2023

dovrebbe essere pubblicato su 31.05.2023

Korpses Katatonik - Subklinikal Leukotomy Aphrenia Spasmophilik Lyssophobo Asphyxia Sinister Lethal Anorex

Subklinikal Leukotomy Aphrenia Spasmophilik Lyssophobo Asphyxia Sinister Lethal Anorex LP/CD

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire.

pre-ordina ora31.05.2023

dovrebbe essere pubblicato su 31.05.2023

Material Things - 2015-2020 LP

Material Things

2015-2020 LP

12inchISLE-015
12th Isle
30.05.2023

Under the production moniker of Material Things, 12th Isle co-founder Stewart Brown unveils a part debut album part compendium of musical collaborations spanning from 2015-2020. Some recordings began as long, one-take improvisations (How's Life, Peckham) spliced together and revisited years later. Others were based upon chance opportunities to record with musicians operating a long way from the parameters of 12th Isle.

Cult private-press loner folk guitarist Bob Theil, whose 1982 album So Far counts as one of the Scottish greats of the era, is at the heart of 'Westway'. Synth and guitar fragments recorded by the pair in Stewart's family home one summer form a low-key conclusion to the collection, whilst London based percussionist Pike Ogilvy brings an array of drum sounds and natural percussion to 'No Direction'. Regular 12th Isle affiliate Vague Imaginaires also features heavily, contributing synth work on Grenoble and his own extended digi bonus remix of 'How's Life'.

As a collection, the 8 tracks show a studious, concise vision and combine influences from minimalism, concrete and avant-garde jazz and techno yet also embrace friendship, experimentation and curiosity whilst capturing 5 years of the artists own personal life. Some of the tracks have been circulating in various versions for a number of years now, with DJ support from Bake, Ivan Smagghe, Optimo, Lena Willikens, Huntley & Palmers, Orpheu The Wizard and, of course, 12th Isle.

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Normil Hawaiians - More Wealth Than Money

Finally back on vinyl, this time a limited pressing of 500 copies on 180g white vinyl, 'More Wealth Than Money' by Normil Hawaiians quickly sold-out upon its initial release in 2017.
'More Wealth Than Money' proved a vastly ambitious debut album, sprawling across four sides of vinyl in a way that still feels truly expansive, brave, cinematic even. From the plaintive pastoralism of 'British Warm' to the transcendental vistas of 'Other Ways Of Knowing', the album constantly surprises with its ringing trails of guitar, motorik pulse and synth rambles. From the striving incursion of 'Sally IV' to the softly spoken disbelief of 'Yellow Rain' the album is nothing short of a waking dream. Guy Smith's vocal floats through the album in a haunting manner, at times heartfelt at others overcome. He's on a quest to his own celestial city and we can stay for the whole journey if we only listen.
Described by the press upon its release in 1982 as an "absolutely mesmerising double album travelling through progressive rock, via industrial folk to freaky art-punk whilst sounding delightfully coherent" and "a huge slab of mindblowing dark psychedelia" the album was critically acknowledged for its peculiarly British kosmische. However, for an album so indebted to the fertile soil from which it sprang, it's curious that 'More Wealth Than Money' never came out officially in the UK. The band's label Illuminated were temporarily blacklisted by their distributor because of unpaid debts and so the album was only available from the band at concerts within the UK. The bulk of the record's sales went to mainland Europe on export.
Upset The Rhythm are now very proud to finally give 'More Wealth Than Money' the release it's always deserved. On December 1st, 35 years since the album first appeared, Upset The Rhythm will be reissuing the newly re-mastered 'More Wealth Than Money' album, alongside a further full-length collection of demos and unreleased tracks from the album's overlooked corners. Both the 2xCD and DLP versions also come with a booklet contextualizing the release, full of anecdotes and photos from all band members.
Track listing:

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Lloyd Cole And The Commotions - Mainstream

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Mainstream is the third and final studio album by Lloyd Cole and the Commotions. It was produced by Ian Stanley and released by Polydor Records in the UK and by Capitol Records in the US on 26 October 1987. It included the singles "My Bag", "Jennifer She Said" and "From the Hip".

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

pre-ordina ora26.05.2023

dovrebbe essere pubblicato su 26.05.2023

Borghesia - Rugged City

Slovenia multimedia, electronic and rock group Borghesia formed back in 1982 from members of an underground theatre group that was known as FV-112/15. They also ran their own alternative club and had an illicit, illegal aesthetic based around anything taboo, banned or prohibited in the country at the time, much like the likes of Front 242 and Nitizer Ebb. Rugged City was an album first released in 1988 and only in Yugoslavia. It collects the best tunes from previous albums Escorts And Models and No Hope No Fear and is a perfect overview of their powerful mutant sound.

pre-ordina ora26.05.2023

dovrebbe essere pubblicato su 26.05.2023

PETER DAVISON - GLIDE

Peter Davison

GLIDE

12inchFOB-006LP
Fact of Being
26.05.2023

"The Fact of Being are happy to inform about the second step in a series of reissues of early works by Peter Davison. The long-awaited re-edition of a highly acclaimed and innovative album "Glide" 1981 to celebrate its 40th anniversary. "Glide" was the second artist's album. Released in 1981 on vinyl and urgently repressed in 1982 due to high demand it was sold-out fast again and has not been reissued since that. To date, this is one of the rarest and wanted ambient recordings that finally available again with original artwork and short liner notes from Peter Davison himself. A fascinating ambient album less new-age more minimal ambient. An absolute classic in the spirit of Iasos, Brian Eno, Jon Hassell, Michael Stearns... Peter Davison has composed music scores for Indie Features, the History Channel, A+E, Biography, PBS, Warner Bros., Disney, Universal, Discovery, Gaiam (Yoga/Relaxation music), and others. Over 25 CDs of his music are available on EMI/Higher Octave, Gaiam, Davisounds, and TSR/Baja. His instrumental "Sip of Wine" (from his CD "Future, Present, Past") received the Best Song of the Year Award, Hollywood Music in Media Awards, (New Age/Ambient), 2010. Both "Fern Valley" and "Mount Tahquitz" from his CD "Forest Home" and "Possibility" (from his CD "Possibility") have also received nominations. Peter's score for the PBS Series "The Endless Voyage" was nominated for the "Best Score of the Year, TV Show." Peter Davison has composed the memorable music for over 45 of GAIAM's award-winning DVDs featuring master instructors yoga and meditations Rodney Yee, Patricia Walden, Suzanne Deason, David-Dorian Ross, and others."

pre-ordina ora26.05.2023

dovrebbe essere pubblicato su 26.05.2023

The Residents - Duck Stab / Buster And Glen lp

Formed in the early 1970s, The Residents have now been charting a unique path through the musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we present an expanded vinyl reissue of the classic 1978 album ‘Duck Stab/ Buster & Glen’.

Compiling the legendary ‘Duck Stab!’ EP with another side of similarly themed ditties, The Residents’ produced one of their best-loved works during the punk rock explosion of 1978 - the album has remained a cornerstone of their remarkable body of work ever since; and has recently been featured heavily on the band’s ‘Dog Stab!’ tour. This expanded edition includes the ‘Shitty Rock ‘N Roll’ RDX suite (a reworked and remixed suite produced by The Residents using the album’s original multitrack tapes) alongside related bonus tracks, all packaged within the album’s long out of print original sleeve artwork.

Produced with The Cryptic Corporation, remastered by Scott Colburn and complete with insightful new sleevenotes, this set builds upon The Residents’ ongoing pREServed reissue project, which will continue into 2023 and beyond.

pre-ordina ora19.05.2023

dovrebbe essere pubblicato su 19.05.2023

Swamp Children - Taste What's Rhythm

Swamp Children

Taste What's Rhythm

12inchBEWITH019TWELVE
Be With Records
19.05.2023

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

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BELLA VISTA - MISTER WONG

repress

Bella Vista was a one off project from Michel Esteban, founder of seminal New York Disco/Electro/New Wave imprint ZE Records. Originally released in 1982 'Mister Wong' is a Pop oddity that sits between French Synth Pop and Leftfield Disco. The 12' includes the sought after Disco Dub version that lets the bassline work its magic alongside some heavy dub delays, on the flip Jura Soundsystem provide an extended version with added live percussion.

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Various - Cease & Resist - Sonic Subversion & Anarcho Punk in the UK 1979 -1986

Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.

The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.

The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.

This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.

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Charms - Givin’ It Up / Pour Moi Ça Va

Favorite Recordings proudly presents its new series of 7" reissues with the following concept: each side dedicated to one Funky French track coming with its original artwork. You just have to flip it!

On the first side comes "Givin’ It Up" by Belgian funk band Charms. Compiled by Charles Maurice on French Disco Boogie Sounds Vol. 2, the original vinyl 7inch was released in 1982 on famous Biram label and is now a very hard to find gem for reasonable prices. Not really surprising considering the immediate power of this Disco track, filled catchy synths lines, sweet vocals and fateful chorus.

On the other side comes another French Disco underground hit with “Pour moi ça va” by France-Lise. It takes only a few seconds to get driven on the dancefloor by the heavily funky guitar and bassline and the immediate energy of this song. Also compiled by Charles Maurice on French Disco Boogie Sounds Vol. 1, this is also a quite hard to find OG. With its charming French vocals and bouncing percussions, it should delight any Disco player.

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M / Robin Scott - Pop Muzik/Baby Close The Window

Tracklisting comprises: Recently unearthed unreleased track from 1982 (Baby Close The Window) and new unreleased Latin version of Pop Muzik alongside classic 12” version of the worldwide 1979 number one. Final track M Factor (UK 7”) is available for first time since its appearance on the original British version of Pop Muzik 45.

pre-ordina ora11.05.2023

dovrebbe essere pubblicato su 11.05.2023

Art P / Die Synthetische Republik - Genscher Pull N Push / Der böse Osten

We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

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Nuno Rebelo - Improvisações Cristalizadas LP

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo:
Short electronic pieces composed in 1989-90 using the Atari 1040ST computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (TX81ZX and TG55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in MIDI to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.

pre-ordina ora05.05.2023

dovrebbe essere pubblicato su 05.05.2023

David Byrne - The Complete Score From “The Catherine Wheel” 2x12"

"An absolutely monumental masterpiece of late 20th century music is the seamless funk opera score David Byrne created for choreographer Twyla Tharp’s The Catherine Wheel in 1981. This 2LP set marks the vinyl debut of the full score (previous releases contained only a 1LP condensed version). The tracks ""Big Blue Plymouth"", ""My Big Hands"", ""Big Business"" and ""What a Day That Was"" were all performed live by Talking Heads in 1982 and 1983.

pre-ordina ora04.05.2023

dovrebbe essere pubblicato su 04.05.2023

ADN’ Ckrystall - Frankraut

French electronic pionner, ADN’ Ckrystall, became a legend in the Minimal-Synth scene when his first album
« Jazz’Mad » (from 1982) was rediscovered and re-edited via the two biggest labels in the genre : Minimal Wave (circa 2005) and Dark Entries (circa 2012). Following this new interest, a bunch of unreleased materials reappeared and went out mostly directly through Erick (ADN)’s control, under compilations, coffrets (V.O.D.) or albums that never had the chance to come out before... But one piece was still missing, the album just following « Jazz’Mad » called « Frankraut » and here comes the story... During the covid year of 2021, Erick finally found the tapes forgotten somewhere at his parents house since 1984. After relistening to it he decided to bring them back to life. « Frankraut was a project born from the reflexion about the concept of marrying (and not the opposite) the romantico-poetico side : naive melodies flirting with research and experimentations in the electronic music « à la française » like illustration, « bilbliothèque sonore » (library) or music for film... and the « cold », mechanic, motorik, hypnotic, psychedelic free explosive and creative side of the Krautrock. »

Summer 2022, during the Braille Satelite festival (Lithuania) Sacha (label boss) and Erick met and became friends. Few weeks later Erick was sending the demos of Frankraut on a burned CD (‘à l’ancienne’) by the post to Sacha. This is how ‘the 40 years old never released before project’ is finally coming out has a mini-LP on the 10inch format on Macadam Mambo !

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Last In: 3 years ago
Lloyd Cole And The Commotions - Easy Pieces

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

pre-ordina ora28.04.2023

dovrebbe essere pubblicato su 28.04.2023

Adu - Burkina Faso (Wagadugu Blues)

Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes.

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B.E.F. - Music For Stowaways LP

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

pre-ordina ora21.04.2023

dovrebbe essere pubblicato su 21.04.2023

Michael O'shea - Michael O'shea

Michael O'shea

Michael O'shea

12inchACMOSLPX1
ALLCHIVAL
20.04.2023

Repress!

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival's recent reissue of Stano's debut LP, Michael O'Shea's self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O'Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument - Mo Chara (Irish for "My Friend").

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he'd encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: 'I always said it was the best job we ever did.'

After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O'Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City's AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

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KEVIN MCCORMICK - STICKLEBACKS LP

Kevin McCormick's unreleased bedroom studio tape material (1982-1984). Moods similar to Durutti Column, Woo, Crosby’s spacey moments, and Boards Of Canada’s nostalgia.

Following the release of Light Patterns in 1982, Kevin recorded a series of songs onto tape that explored the sonic possibilities of a solitary guitarist. Shedding the acoustic sound of his previous effort, he adopted a swelling electric palette to apply his moods to. These recordings are a shift in direction to a sparse and ambient style, and their hazy, repetitive movements create room for evocative melodies.

Kevin fills a deficiency of guitar-forward music with his minimalistic approach that is somewhere in the space between ambient, rock, jazz, and avant-garde. On Sticklebacks, he casts away the morning elegance of Light Patterns and leans further into the introverted feelings of the small hours. It is a nascent springtime journey that shows just what Kevin is capable of with six strings.

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Last In: 3 years ago
WEEKEND - La Varietè

Weekend

La Varietè

12inchLANR006
Lantern Rec.
18.04.2023

Formed by Alison Statton of much-loved Welsh avant-garde/indie pioneers the Young Marble Giants alongside guitarists Simon Booth and Spike, Weekend have been more than a cult band during their short career. La Varieté was their 1982 debut album a delicate collection of songs set against a jazz backdrop, switching across several musical settings including samba, cabaret, Afrobeat and truly original contemporary exotic pop. The album was originally released in 1982 on the Rough Trade label and still deserve the status of a masterpiece. It was revered by critics on release as a bold new departure from the prevailing post-punk ethos and served as a major influence on future indie stars as Saint Etienne and Belle And Sebastian.

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Buster Brown Band - Popsicle Toes

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

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Last In: 3 years ago
Johnny Powell - Moving Out

Johnny Powell

Moving Out

12inchJAMWAXMAXI25
Jamwax
17.04.2023

The one arm keyboard luminary is well known in the entertainment circle of Western Jamaica. Born on the 2nd of March 1954, the accomplished singer and musician hails from Hayes, Clarendon. In 1969 he went to live in Kingston until 1973. Ancel's first effort in a recording studio was inside the popular Randy's in downtown Kingston. He did a single called 'Riding On' on the Musical Barber label out of Mandeville.
In 1977 he joined a group called Solid Foundation and stayed with them for two years. After that he moved to Montego Bay to sing with Stamma and the Sounds of Mobay, with who he appeared on Reggae Sunsplash festival in 1980.
Johnny made the move for the United States in 1982, and formed his first own band 'Uprisers' in Pittsburgh city.
One of the things he likes to talk about is how he once reunited the famed Clarendonians with Peter Austin and Ernest Wilson. Both pioneer icons were at irreconcilable odds with each other for quite some time. When he came back to Jamaica in 1985, he invited Ernest Wilson to do back-up vocals for him. For the same studio session, he also invited Peter Austin for the same back-up duties, and that was how the reunion came about. Inside famous Aquarius studio, there was Burning Spear's personal Band called Burning. The songs recorded there were 'Moving Out' and 'True Love' with top musicians : Tony Green on the saxophone, Bobby Ellis on the trumpet, Dwight Pinkney on the guitar, Calvin on percussion, Nelson Miller on the drums and Maurice Gordon on bass. This was not the first time Ancel was working with Peter Austin. When the split came in the ranks of the Clarendonians, Ancel was asked to fill the breach. He thus teamed up with Peter Austin and their first single together was entitled 'Out Of Sight'. They later entered the annual Jamaica Festival Song competition in 1975. Their entry was entitled 'Paradise On Earth' which Ancel said was quite popular. However, it was not popular enough to prevent the late Roman Stewart from copping the award with 'Hooray Festival'.
After the release of 'Moving Out', Johnny moved to Miami and continued his career as a solo artist, singing with different local bands. He did a number of singles, notably were 'Faith, Patience and Love' and 'Stand Back' for a producer called Jolly in Miami. In 1988 Powell formed his second band Benja, a band which gained increasing popularity in the time in South Florida. They have performed on several festivals, played in most major clubs and were a big success in Andros Island in the Bahamas for an audience who not necessarily consider Reggae their prime choice of music.

The saddest part of his life was when he lost his left hand to what doctors termed as a cancerous situation in 1977. This did not, however, stop him from learning how to play keyboards. Initially he was taught by the late Bobby Vaugh in Montego Bay and also got further teaching from jamaican saxophinist Reuben Alexander.

Now approaching 70 years old, Ancel is still very active in his music. In previous years he performed at the Marcus Garvey Celebration and is currently working with the “Synergy Band” at Royalton Hotel in Negril under the stage name “Ancel P.” Let the one arm keyboard luminary life and music live eternally !

Produced by Ancel "Johnny" Powell & Patricia Wallace
Engineer: Melvin Williams
Recorded at Aquarius Studio (Kingston, JA) in 1985

Bass: Maurice Gordon
Drums: Nelson Miller
Guitar: Dwight Pinkney
Saxophone: Tony Green
Trumpet: Bobby Ellis
Percussion: Calvin
Keyboards: Winston Wright
Backing vocals: Ernest Wilson & Peter Austin from the Clarendonians

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Last In: 18 months ago
Various - SCRAP METAL VOL 2

Various

SCRAP METAL VOL 2

12inchEZRDR143
Riding Easy
31.03.2023

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

pre-ordina ora31.03.2023

dovrebbe essere pubblicato su 31.03.2023

Various - SCRAP METAL VOL 2

Various

SCRAP METAL VOL 2

12inchEZRDR143B
Riding Easy
31.03.2023

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

pre-ordina ora31.03.2023

dovrebbe essere pubblicato su 31.03.2023

Johnny Osbourne - Never Stop Fighting LP

2023 Repress

Roots Reggae-Klassiker aus dem Jahre 1982 im Original Artwork neu aufgelegt. Die Henry 'Junjo' Lawes Produktion entstand seinerzeit im Channel One Studio mit den Roots Radics in Top-Besetzung und wurde von Scientist im King Tubby's Studio abgemischt. Johnny Osbourne gehört zu den ganz Großen der jamaikanischen Künstler, und "Never Stop Fighting" ist einer der Höhepunkte seiner Karriere. Die Songs "Love Is Universal", "Give A Little Love", "In Your Eyes", "Never Stop Fighting" und "Over 31 Under 21" sind zeitlos und bilden die Basis für das Dub-Reggae-Kultalbum "Scientist Wins The World Cup". Ebenfalls erhätlich: Johnny Osbourne "Reggae Legends" 4CD Box-Set (Artikel-Nr. GRE2080 Barcode 601811208021) inklusive der CD zu dieser LP.

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Last In: 3 years ago
Freddie Mcgregor - Big Ship

Der Bestseller von 1982 endlich wieder auf Vinyl erhältlich! Der Titelsong "Big Ship" gehört zu den bekanntesten Liedern des renommierten Sängers, u.a. hat er sein eigenes Studio und Label danach benannt, und der Longplayer wurde im Harry J und Channel One Studio mit den Roots Radics aufgenommen, von Scientist abgemischt, und als Produzent fungierte Linval Thompson. Weitere Top-Tunes des Albums sind "Roots Man Skanking", "Stop Loving You", "Peaceful Man", das auch als 2009-CD Remaster erhältlich ist: Katalog-Nr. GREWCD39

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Lloyd Cole And The Commotions - Rattlesnakes

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

pre-ordina ora31.03.2023

dovrebbe essere pubblicato su 31.03.2023

Jacqueline Humbert & David Rosenboom - Daytime Viewing LP

40th Anniversary Edition - newly remastered from the master tapes, with an additional bonus LP of instrumentals and the previously unreleased "Narration Theme."
Daytime Viewing (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane.
Originally released as a private cassette edition recorded, 1982; Chez Hum-Boom release, 1983 documenting the collaborative performance piece of the same name by Jacqueline Humbert g David Rosenboom. This heady, thoroughly enjoyable work was first made available on CD and LP in 2013 by Unseen Worlds. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on
par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added.

pre-ordina ora31.03.2023

dovrebbe essere pubblicato su 31.03.2023

Kaitlyn Aurelia Smith & Suzanne Ciani - Frkwys Vol. 13: Sunergy

Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.'s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change. Fortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of Sunergy embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the '60s by Don Buchla.
Sunergy was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, Sunergy is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the potential of Don's synthesizer instruments in the '60s and '70s, performing her own compositions before introducing synthesized jingles and sound effects to household audiences. Ciani then achieved wide recognition for her debut album Seven Waves, a collection of colorful, classical song-like melodies fluidly working with harmonic textures and sounds of the ocean shore. Since its 1982 release, Seven Waves has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016's Ears. Despite the serene setting where Sunergy was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artist's refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.
A diametric dynamic is present in Sunergy, a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists' seminal works, Sunergy instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.
Kaitlyn Aurelia Smith and Suzanne Ciani's Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem.

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Distance - Just One More Kiss

Following on from the compilation of Contact-U's foundational UK dance music, 'Dancing Inner Space, 1982-84', Freestyle return to the Challenge Records vaults to reissue another killer Rick de Jongh & Andy Sojka production in the form of Distance's Just One More Kiss.

"We usually recorded at Vineyard studio which was situated in a Victorian warehouse site behind Borough underground station (later owned by the Stock, Aitken Waterman production team)", recalls Rick de Jongh, "but for a reason I can't remember we recorded this record at Phil Fearon's home studio in Kensal Rise - he probably gave us a good deal!". Fearon had been a member of the band Kandidate and was at the time the lead singer and songwriter in Galaxy and would later go on to helm the legendary Production House label in the late 80s and into the early 90s. Rick recalls the studio, a converted back bedroom, being as well equipped as any pro studio though not without it's quirks - "the odd electrical glitch would occur, especially when somebody put the kettle on, which would play havoc with sync codes etc. and we would often have to start again!"

Most of the track had been laid down by Sojka & de Jongh before approaching vocalist Janey Hallett. "At the time Janey was a vocalist with Mari Wilson & The Wilsations, who had a big hit a year or so earlier with 'Just What I Always Wanted' and was introduced to us by our regular keyboard player Garry Hughes, who also brought along Julia Fordham - then a fellow singer in the Wilsations - who provided backing vocals on the track."

Challenge Records would again later utilize the backing vocals of both Janey and Julia on some of their forays into the world of Hi-NRG records. In places there is a certain Hi-NRG tinge to this track, and at times Janey's vocal (in combination with the stripped back and heavy electro backing track) bring to mind the US-based latin freestyle sound of the late 1980s. All in all, it is another piece of foundational & criminally undersung UK dance music, which surely has a place in a wide-range of DJ's record bags!

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Freiwillige Selbstkontrolle - Magic Moments

Originally released in 1982 on ZickZack Platten, this EP includes the four tracks »Wir steigen ein«, »Trink wie ein Tier«, »Herzschuß Melodie« & »Viel zu viel«. The reissue is accompanied by a booklet with liner notes by Tim Klütz (in German).

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