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Vintage-Pariser Jazz. Vintage-Pariser Ambiente. Paris hat schon immer Jazzmusiker aus aller Welt in seine Clubs & Cafés gelockt. Paris ist insbesondere die spirituelle Heimat des Gypsy-Jazz, wo viele Jazzmusiker in der ersten Hälfte des 20. Jahrhunderts in den Bals-Musettes der Stadt spielten. Django Reinhardt machte sich in den 1930/40ern mit dem Geiger Stéphane Grappelli und seinem Quintette du Hot Club de France einen Namen, ebenso wie mit den Bands von Alex Renard, Alix Combelle, Ray Ventura, Claude Bolling und Jerry Mango. Dieser LP-Sampler gibt einen hervorragenden Überblick über die damalige Szene, als kurz nach dem Krieg die Viertel Saint-Germain des Prés und Latin zahlreiche berühmte Jazzclubs beherbergten. Alle Tracks wurden remastert.

Liza Lo creates her own intimate and poetic musical world. Lo is a singer-songwriter, producer and musician based in London. Drawing inspiration from the likes of Daughter, Maro and Billie Marten, she carries you into a place of reflection and calm with her raw vocal and honest songwriting. Her new album 'Familiar' was recorded by Jon Kelly (Paul McCartney, Kate Bush) with the band and her in Studio 13 in West London.

Maintaining the intimacy of the messages of the songs is executed by gently supporting the lyrics and structure with a laid back, open band feel and delicate string arrangements, leaving you with a gentle hug for early mornings of reflection. Lo blends her upbringing in Spain and the Netherlands freely in her newly found sound. Her latest EP 'flourish' was featured on Spotify's New Music Friday UK, NL and BE as well as in 'the most beautiful songs in the world' playlist.

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

"Love and the Russian Winter was released in 1999, the band’s 7th studio album, and included a hit cover of ‘Ain’t That a Lot of Love’. All other tracks were Hucknall originals. The new release includes remastered audio for vinyl.
"

This is a x1 LP Vinyl highlights from the box that documented The Band Of Gypsys stand at the Fillmore East on New Years Eve & Day 1969/1970. Pressed on very limited Blue & Violet LP Vinyl.

Hubbard was only 22 years old when he recorded the album, yet it showcases his prodigious talent and hints at the remarkable career he would go on to have

The album has become a classic in the hard bop genre, combining elements of bebop and blues with advanced harmonies and improvisational flair and features a stellar lineup of musicians, many of whom were already influential figures in the jazz world or would go on to become so Freddie Hubbard, Tina Brooks, McCoy Tyner, Sam Jones, Clifford Jarvis. "Open Sesame" is rooted in hard bop, a jazz style characterized by a mix of bebop's fast tempo and complex improvisations with blues, gospel, and R&B influences. Hubbard's trumpet playing is both aggressive and lyrical, marked by his technical precision and emotive phrasing. His performance is complemented by Tina Brooks' soulful tenor saxophone and McCoy Tyner's distinctive piano comping, which adds a rich harmonic layer. The album's compositions range from the upbeat and fiery title track "Open Sesame", to the lush ballad "But Beautiful", and the bluesy groove of "One Mint Julep". The track "Gypsy Blue", written by Tina Brooks, is a highlight with its sophisticated chord changes and melodic inventiveness. Open Sesame received critical acclaim upon release and established Hubbard as one of the premier trumpet players of his generation. It's considered a cornerstone of Hubbard's career and a significant recording helped launch Hubbard into a long and successful career where he would collaborate with some of the biggest names in jazz, including Art Blakey, Herbie Hancock, and Wayne Shorter and remains an essential listen for anyone exploring Freddie Hubbard's discography.

Released in 1974, "Lotus" by Santana is a landmark live album showcasing the band's incredible fusion of rock, jazz, and Latin music. Recorded during their Japan tour, the album features Carlos Santana's signature guitar work and the band’s dynamic improvisations. "Lotus" captures performances from Tokyo, presenting a mix of Santana's classic hits and extended jams, including tracks like "Toussaint L'Overture" and "Oye Como Va." Known for its energetic solos and vibrant rhythms, the album highlights Santana’s ability to blend diverse musical influences into a cohesive, powerful sound. The 1974 release is praised for its high-quality sound and passionate performances, solidifying Santana’s reputation as a pioneering force in rock and Latin music. For fans and collectors, "Lotus" remains a quintessential representation of Santana’s live prowess and innovative spirit. Lotus is a limited edition of 1500 copies on translucent yellow coloured vinyl.

Das Album des kalifornischen Trompeters Luis Gasca von 1972 wurde oft als „vergessenes Santana-Album bezeichnet, da mehr als die Hälfte der klassischen Santana-Besetzung hier vertreten ist, einschließlich Stanley Clarke am Bass! Die furiose Mischung aus Jazz, Fusion und lateinamerikanischen Einflüssen übt bis heute hypnotische Wirkung aus.

One of the Most Exhilarating Live Albums Ever Released: Santana’s Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness

Mobile Fidelity’s 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters

The bizarre legacy of Lotus transcends its status as both the definitive onstage document of Santana’s career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana’s first four albums and the Carlos SantanaJohn McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers.

Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity’s 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed.

2024 Reissue

The syndicate manifests its sonic potential in full glory. Giving rise to this collection of colossal heavyweights, Sentry demonstrates its spotless record of selecting certified heavyweights for the discography once again, twenty-fold. Stepping into the ring are some of the scene's most prolific artists alongside a plethora of promising, choice newcomers.

Boasting more than an hour of supercharged sound system pressure with names like Caspa, Truth, Bukez Finezt, Nomine and Youngsta himself on the controls - the subsequent inferno proves to be an authoritative display of quality bass music, that is sure to reach roaring stacks of speakers all around the globe for years to come."

"Vintage flavours transmute into fiery low-end excursions in 'Sun Ra' as Onhell reigns with fire and brimstone and makes way for what's to come. Rolling on, Taso lays waste with dimly lit half-time flows as we enter the smoke-filled mansion of Argo's meticulously crafted 'Since Then' - a prime cut of hip-hop infused breakbeats and bass.

Abstrakt Sonance & Substance set the heater into overdrive and blunts aflame as we proceed into the shelling of 207's 'Gypsy Dub' - then promptly being crunched to bits by 'Crocodile' - encapsulating Dayzero's cold-blooded dance floor armaments. Brace yourself for battle as we step to the drums of Caspa's tribal warfare, full-frontal assault engineered for the club.

Unrestrained power surges propelling us onwards in Coltcut & Ourman's decidedly high-grade collaboration as listeners march through Khiva's haunting sound system belter 'Teeth' and a zealous dosage of Dubstep as envisioned by Truth. Led through eerie alleys and pressure-ridden environments with LSN on the buttons, the onslaught proceeds with the relentlessly driving 'R U Broke' in Mr. K's signature style.

Opus merciless injects straight fury in an auditory form in the spiked 'Lime Pickle' - Bukez Finezt keeping pace with a murderous Cembalo-ridden thug anthem, lunacy! Minimal instrumentation to its fullest effect, Sukh Knight's 'Modulate' keeps it spicy - as does the claustrophobic sub-bass chiming by Leftlow. Thanom ignites what's left of the residual air in 'Tumble It' - dangerous goods.

The subsequent time bomb armed by A:Grade & Feonix, cast into the abyss that is Nomine's space-bending 'Judas' - big speaker business. The clock strikes its final hour - Youngsta & Cimm finish off the survivors with a no-holds-barred showdown, the 'Last Judgement' executing its massive verdict.

Saxophonist and musical omnivore Benjamin Herman has been one of Holland’s most productive musicians of his generation for over three decades. Aside from thousands of gigs, Benjamin has released over 50 albums as a solo artist and as frontman of his groove-orientated ensemble New Cool Collective. His wonderfully diverse musical output includes straight-ahead jazz, Gypsy jazz, punk jazz, film scores, Afrobeat, Latin music and postmodern interpretations of pieces by Dutch composer Misha Mengelberg, as well as collaborations with vocalists, poets, pop stars, hip-hop artists, and instrumentalists from all over the world. The common thread is his quest for a recognizable, personal sound on the alto saxophone. As usual, his latest album finds him exploring new territory.

With his Bughouse project, he fulfills his long-standing desire to blend his old loves of punk and jazz. The latest Bughouse album, "Bughouse: The ERUS / ARC Sessions”, displays the versatility of Benjamin Herman's Bughouse, covering a wide range of styles from jazz-punk to noise, free jazz, and beyond.

"After her first album ""On n'enferme pas les oiseaux"" certified Gold in France and internationally, a Victoire de la musique, a second place at Eurovision 2021 with her song ""Voilà"", certified Platinum in France and internationally, Barbara Pravi is back with ""La Pieva"", a new album full of passion and emotions which will be released on September 6, 2024. ""La Pieva"" means ""the singer"" in Serbian. For this album, Barbara is inspired by her ancestor, the widow Milovanovic. A gypsy girl who lived in the mountains of Serbia and went from village to village to sing for the villagers. Barbara comes from her family and like La Pieva before her, she tells stories. Life, death, family, the world around us. Love too, friendship, humanity.
Reviews in Times, Guardian, Standard, Le Petit Journal, The Line Of Best Fit"

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

US House Music legend Teddy Douglas of Basement Boys and Jasper St. Co. fame gets set to unleash his first solo artist album, ‘I’m Here’, on the iconic label, Nervous Records. Teddy has gone all out to deliver one of his most creative and musically diverse albums to date. ‘I’m Here’ is a colourful pallet of meaningful songs and grooves that reach far beyond Teddy’s signature soulful Baltimore House sound, with added infusions of Funk, Rock and Jazz, yet still loaded with plenty of Teddy’s trademark House and Disco sounds that we all know and love.

Across the album he’s pulled together an array of heavyweight international vocal talent including; UK vocal diva Pauline Taylor; Danish award winning Folk and Blues artist, Richard Farrell; Chi Town Hip House legend, Fast Eddie; dance music’s legendary No.1 vocal queen, Ultra Naté; up and coming Brit Soul talent, Sipho; and Buckshot from Blackmoon appearing as BDI Thug. From the shimmering cover of The Frontline Orchestra’s ‘Don’t Turn Your Back On Me’ with Pauline Taylor on the vocals, to the downtempo rocky vibes of ‘Help!’ with Sipho delivering a spine-tingling gravelly vocal, ‘I’m Here’ is testament to Teddy’s finely tuned expert musicianship and impeccable knack for penning great songs and delivering vibrant covers.

Baltimore’s Teddy Douglas has produced everyone from Michael Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate’ and was an important figure in the development of the Baltimore “House” Sound. Teddy has held down a long and successful DJ career since 1983 staring out in Baltimore and spreading his wings globally gracing the decks at clubs such as Yellow in Japan to London’s Ministry of Sound and beyond. In 1985 he met Jay Steinhour and Thommy Davis, who later formed The Basement Boys production company. The Basement Boys have produced countless dance classics like Crystal Waters’ 1991 Gold single, ‘Gypsy Woman’. In the mid 90’s Teddy Douglas and Jay Steinhour opened Basement Boys Records and released club anthems from Teddy Douglas, Jasper St. Co., Ann Nesby, Those Guys, DJ Spen, Byron Stingly, Karizma, Kenny Bobien, Taja Seville and more

a A1. SECOND HAND NEWS* 4:05
b A2. THE CHAIN [6:33]
[c] A3. DON'T STOP** [3:52]
[d] A4. DREAMS** [4:13]
[e] B1. OH WELL** [3:34]
[f] B2. RHIANNON [8:02]
[g] B3. BROWN EYES* [4:21]
[h] B4. EYES OF THE WORLD [4:10]
[i] C1. GYPSY [4:32]
[j] C2. LOVE IN STORE [3:19]
[k] C3. NOT THAT FUNNY [9:06]
[l] D1. NEVER GOING BACK AGAIN** [4:25]
[m] D2. LANDSLIDE** [4:13]
[n] D3. TUSK [5:57]
[o] E1. SARA** [6:12]
[p] E2. HOLD ME* [4:14]
[q] E3. YOU MAKE LOVING FUN [4:43]
[r] E4. I'M SO AFRAID [6:29]
[s] F1. GO YOUR OWN WAY [6:28]
[t] F2. BLUE LETTER [4:43]
[u] F3. SISTERS OF THE MOON [8:03]
[v] F4. SONGBIRD [3:33]

[a] A1. SECOND HAND NEWS* [4:05]
[b] A2. THE CHAIN [6:33]
[c] A3. DON'T STOP** [3:52]
[d] A4. DREAMS** [4:13]
[e] B1. OH WELL** [3:34]
[f] B2. RHIANNON [8:02]
[g] B3. BROWN EYES* [4:21]
[h] B4. EYES OF THE WORLD [4:10]
[i] C1. GYPSY [4:32]
[j] C2. LOVE IN STORE [3:19]
[k] C3. NOT THAT FUNNY [9:06]
[l] D1. NEVER GOING BACK AGAIN** [4:25]
[m] D2. LANDSLIDE** [4:13]
[n] D3. TUSK [5:57]
[o] E1. SARA** [6:12]
[p] E2. HOLD ME* [4:14]
[q] E3. YOU MAKE LOVING FUN [4:43]
[r] E4. I'M SO AFRAID [6:29]
[s] F1. GO YOUR OWN WAY [6:28]
[t] F2. BLUE LETTER [4:43]
[u] F3. SISTERS OF THE MOON [8:03]
[3:33]

[a] A1. SECOND HAND NEWS* [4:05]
[b] A2. THE CHAIN [6:33]
[c] A3. DON'T STOP** [3:52]
[d] A4. DREAMS** [4:13]
[e] B1. OH WELL** [3:34]
[f] B2. RHIANNON [8:02]
[g] B3. BROWN EYES* [4:21]
[h] B4. EYES OF THE WORLD [4:10]
[i] C1. GYPSY [4:32]
[j] C2. LOVE IN STORE [3:19]
[k] C3. NOT THAT FUNNY [9:06]
[l] D1. NEVER GOING BACK AGAIN** [4:25]
[m] D2. LANDSLIDE** [4:13]
[n] D3. TUSK [5:57]
[o] E1. SARA** [6:12]
[p] E2. HOLD ME* [4:14]
[q] E3. YOU MAKE LOVING FUN [4:43]
[r] E4. I'M SO AFRAID [6:29]
[s] F1. GO YOUR OWN WAY [6:28]
[t] F2. BLUE LETTER [4:43]
[u] F3. SISTERS OF THE MOON [8:03]
[3:33]

a A1. SECOND HAND NEWS* 4:05
[b] A2. THE CHAIN [6:33]
[c] A3. DON'T STOP** [3:52]
[d] A4. DREAMS** [4:13]
[e] B1. OH WELL** [3:34]
[f] B2. RHIANNON [8:02]
[g] B3. BROWN EYES* [4:21]
[h] B4. EYES OF THE WORLD [4:10]
[i] C1. GYPSY [4:32]
[j] C2. LOVE IN STORE [3:19]
[k] C3. NOT THAT FUNNY [9:06]
[l] D1. NEVER GOING BACK AGAIN** [4:25]
[m] D2. LANDSLIDE** [4:13]
[n] D3. TUSK [5:57]
[o] E1. SARA** [6:12]
[p] E2. HOLD ME* [4:14]
[q] E3. YOU MAKE LOVING FUN [4:43]
[r] E4. I'M SO AFRAID [6:29]
[s] F1. GO YOUR OWN WAY [6:28]
[t] F2. BLUE LETTER [4:43]
[u] F3. SISTERS OF THE MOON [8:03]
[v] F4. SONGBIRD [3:33]

[a] A1. SECOND HAND NEWS* [4:05]
[b] A2. THE CHAIN [6:33]
[c] A3. DON'T STOP** [3:52]
[d] A4. DREAMS** [4:13]
[e] B1. OH WELL** [3:34]
[f] B2. RHIANNON [8:02]
[g] B3. BROWN EYES* [4:21]
[h] B4. EYES OF THE WORLD [4:10]
[i] C1. GYPSY [4:32]
[j] C2. LOVE IN STORE [3:19]
[k] C3. NOT THAT FUNNY [9:06]
[l] D1. NEVER GOING BACK AGAIN** [4:25]
[m] D2. LANDSLIDE** [4:13]
[n] D3. TUSK [5:57]
[o] E1. SARA** [6:12]
[p] E2. HOLD ME* [4:14]
[q] E3. YOU MAKE LOVING FUN [4:43]
[r] E4. I'M SO AFRAID [6:29]
[s] F1. GO YOUR OWN WAY [6:28]
[t] F2. BLUE LETTER [4:43]
[u] F3. SISTERS OF THE MOON [8:03]
[3:33]

Cher's FOREVER mit 21 neu gemasterten Songs ihrer großen Hits wie „Believe“, „If I Could Turn Back Time“, „The Shoop Shoop Song“, „Strong Enough“ die von Cher persönlich kuratiert wurden.

Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

High Roller Records, black vinyl, ltd 300, insert, download code, 425gsm heavy cardboard cover, Cloven Hoof aus den Midlands gehören wohl zu den legendärsten Bands der gesamten New Wave Of British Heavy Metal Bewegung. Die Ursprünge der Gruppe gehen auf das Jahr 1979 zurück, als sie sich zunächst unter dem Namen Nightstalker formierte. Im Jahr 1981 wechselte die Band jedoch zu ihrem neuen Namen: Cloven Hoof. Der ursprüngliche Sänger David Potter, der Gitarrist Steve Rounds, der Schlagzeuger Kevin Poutney und der Hauptdarsteller Lee Payne am Bass nahmen die Bühnencharaktere 'Earth', 'Fire', 'Water' und 'Air' an. Nachdem sie Demo-Versionen von Songs wie "Return Of The Passover" und "Nightstalker" aufgenommen hatten, veröffentlichten Cloven Hoof 1982 ihre erste 12"-Vinyl-EP "The Opening Ritual" auf Elemental Music. 1984 wurde das selbstbetitelte Cloven Hoof-Album veröffentlicht, gefolgt von "Fighting Back" (1986), "Dominator" (1988) und "A Sultan's Ransom" (1989). Nach der Trennung in den 1990er Jahren kehrten Cloven Hoof 2006 in neuer Besetzung und mit einem neuen Album namens "Eye Of The Sun" zurück. Im Jahr 2014 wurde "Resist Or Serve" aufgenommen, gefolgt von "Who Mourns For The Morning Star?" (2017), beide auf High Roller Records. Das Album war eine Art Wendepunkt für die Band, da sie damit zum ersten Mal in ihrer Karriere in Nordamerika auf Tour gehen konnte. Seitdem haben Cloven Hoof zwei weitere Studioalben veröffentlicht, "Age Of Steel" auf Pure Steel Records im Jahr 2020 und "Time Assassins" auf FM Revolver zwei Jahre später.

Mit Songs wie "Do What Thou Wilt", "Sabbat Stones" und "The Summoning" markiert ihr brandneues Album "Heathen Cross" die Rückkehr zu High Roller Records. "Wir sind jetzt wieder da, wo wir hingehören", schmunzelt Lee Payne. "Heathen Cross" ist Cloven Hoofs bisher düsterstes und schwerstes Album! Es hat die satanischen Untertöne unseres Debütalbums, aber mit dem besten Sänger, den die Gruppe je hatte. Für mich persönlich ist es mit Abstand mein liebstes Cloven Hoof-Album. Wir wollten den Geist und die übernatürliche Majestät des Debütalbums wieder einfangen. Wir haben mit den Fans gesprochen und ihnen das gegeben, was sie am meisten wollten: eine Rückkehr zu den Wurzeln der NWOBHM. Sie werden es lieben!" Der Bassist ist in der Tat voll des Lobes für den neuen Sänger der Band, der ausgerechnet einen gewissen Harry "The Tyrant" Conklin verpflichtet hat: "Harry Conklin ist ein Weltklasse-Sänger. Er ist super engagiert und hochprofessionell und wir wussten, dass er nahtlos in die Band passen würde. Seine stimmliche Leistung auf dem neuen Album hebt die Band in neue Höhen, und ich kann es kaum erwarten, dass die Fans ihn hören. Harry ist ein erstaunlicher Sänger, er ist so vielseitig. Er kann hoch, tief und immer mit Kraft und Leidenschaft singen. Er weiß, wie man einen Song lebt und verkauft. Harry ist wie ein Schauspieler, der eine Geschichte erzählt, niemand interpretiert meine Texte so wie Mr. Conklin. Ich kann ihn nicht genug loben. Wir hätten schon vor Jahren zusammenarbeiten sollen."

Lee Payne - Bass Guitar, Harry (The Tyrant) Conklin - Lead Vocals, Luke Hatton - Lead Guitar, Chris Coss - Lead Guitar, Ash Baker Drums / Backing Vocals, Chris Dando - Keyboards / Backing Vocals

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

7A Records are proud to present our deluxe reissue of Mungo Jerry’s Electronically Tested. Released on July 19th, the album has been remastered and expanded with four bonus tracks and features extensive liner notes including Ray Dorset’s own recollections.

Electronically Tested, Mungo Jerry’s second album, was first released in March 1971. Even the title clued in listeners that this was no ordinary record. As Ray Dorset reveals, “I came up with the name of the album. Durex used to have ‘electronically tested’ written on their packets. I thought that was quite the talking point, if people in the know said, ‘That’s the same name as on the packet of condoms!’ It was taboo to mention stuff like that.” Electronically Tested offered hints of the familiar via its inclusion of the UK #1 Hits “In the Summertime” and “Baby Jump,” but elsewhere, the album was pure, eclectic Mungo Jerry. Every side of Dorset’s talents as a singer, songwriter, and musician came to the fore on Electronically Tested, with his bandmates John Godfrey, Paul King, and Colin Earl–as well as producer Murray– joining him to create a joyful noise: “It’s got a lot of tracks that could have been singles in their own right. It was good for me to be able to play all that kind of stuff”. Mungo Jerry’s singular sound has been described as rock, folk, blues, country, good-time music, jug band music, pub rock, and gypsy rock–and that’s just a partial list. One can hear all of those elements in the disparate, timeless songs that form Electronically Tested. How would Mungo himself describe it? “It’s kind of rocky stuff. It’s got social commentary. It’s got all sorts of influences in there. It’s really best to say it’s Mungo Jerry music.” Electronically Tested originally peaked at # 14 on the U.K. Albums Chart the week of April 14, 1971.

WAR’s head-nodding mix of music and message started a revolution 50 years ago that continues to win over the hearts and hips of fans around the world. “Greatest Hits 2.0” will be available 29th October and is a new, career-spanning collection that expands on WAR’s platinum-certified 1976 greatest hits album, featuring the legendary songs “Spill The Wine,” “Low Rider,” “Galaxy,” and “Why Can’t We Be Friends?”

WAR’s “Greatest Hits 2.0” 2LP contains 20 tracks, 2CD contains 24 tracks recorded between 1970 and 1994, including the gold-certified singles “Slipping Into Darkness,” “The World Is A Ghetto,” “The Cisco Kid,” and “Summer.” Another gold single, “Why Can’t We Be Friends?” stayed on the charts for 31 weeks and became the soundtrack to the US-Soviet space mission where astronauts and cosmonauts linked up in the spirit of friendship. In the modern era, it has been streamed more than 100 million times. Also included is the #1 R&B smash “Low Rider,” which was inducted into the Grammy Hall of Fame in 2014.

In the collection’s liner notes, Los Angeles Times columnist Gustavo Arellano says GREATEST HITS 2.0 does more than capture WAR at its creative and commercial peaks. He writes: “All the big hits are here, of course, in chronological order from the Eric Burdon days up through cuts from 1982’s underrated Outlaw…But what I love about this collection is that it’s a symphonic suite for a perfect Southern California Sunday afternoon, the kind the rest of the world wants to experience but can only dream about. You can envision it by playing these albums from start to finish.”

Theatrical rocker Arthur Brown gained notoriety and fame in equal measure through ‘Fire,’ an anthem to their pyrotechnic excess. When his backing musicians quit to form Atomic Rooster, Brown formed Kingdom Come to further explore the nexus of music and theatre and of the series of albums they cut for Polydor, Journey is the strangest and greatest. Stretching to the deepest reaches of space rock, Journey used the Bentley Rhythm Ace drum machine, and Victor Peraino’s synths, theremin and mellotron, to chart the astral records of history. This is Brown’s true masterpiece, an astounding record that was aeons ahead of its time.

The American psych pop quintet Paper Garden had established a solid reputation performing to university students in their native New York and in surrounding states in 1967-68 before being commissioned to cut a debut LP with British producer Geoff Turner for Musicor, the resultant sessions yielding a self-contained concept album of totally new work. With sitars and tabla on some songs trading places with baroque elements and orchestrated interludes, the breezy psych pop gets pulled in all manner of directions and often sounds closer to the British psychedelic sound than anything Stateside. A rare and rich listening experience!

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

Multi-platinum country artist Sara Evans known for chart-topping hits like "Sud in the Bucket " and "A Little Bit Stronger," is poised for a new chapter. This March marked her debut on Melody Place Records with the release of the single "Pride" and her long awaited album, Unbroke. Simultaneously, she's preparing to unveil an updated version of her memoir, "Born To Fly," through Howard Books, a Simon & Schuster imprint. Expect this insightful memoir to hit shelves this Summer, offering readers a deeper understanding of Sara Evans beyond her musical achievements. Add in the recent launch of her lifestyle podcast and "Diving in Deep" and a plethora of TV appearances expect to see (and hear) Sara Evans everywhere.

Bonobo alias Simon Green - heute einer der größten Namen in der Dance-Musikszene - tauchte erstmals Ende der 90er Jahre als einer der hellsten Sterne des Downtempo-Genres auf. Ursprünglich um die Jahrtausendwende veröffentlicht, ist Bonobos Debütalbum "Animal Magic" ein zeitloses Album und ein Kultfavorit unter den Fans geworden.

Aufgenommen auf einem Akai 4-Spur-Tonbandgerät, nimmt "Animal Magic" einen besonderen Platz in der Geschichte des in Brighton ansässigen Independent-Labels Tru Thoughts ein, denn es war das erste Album des Künstlers, das auf der Tru Thoughts-Compilation "When Shapes Join Together" debütierte. Bonobos Anfänge als talentierter DJ und Produzent begannen unter der Anleitung von Tru Thoughts A&R Robert Luis und seinen Label-Nächten in Brighton, wie z.B. phonic:hoop, wo Simon seine ersten Erfahrungen sammelte und begann, die ganze Nacht hindurch DJ-Sets zu spielen.

"Animal Magic" ist das Ergebnis von Simon Greens Zeit in der kreativen Küstenstadt Brighton und markiert einen wichtigen Meilenstein in seiner musikalischen Reife. Die Stadt übte einen entscheidenden Einfluss auf ihn aus und ermöglichte es ihm, seine Fähigkeiten als Drum-Programmierer und Produzent weiterzuentwickeln, während er unermüdlich als DJ in diesem kreativen Zentrum auflegte.

Während er in Brighton lebte, veröffentlichte Bonobo neben seinem kultigen Debütalbum "Animal Magic" eine Handvoll EPs und Singles wie "Scuba", "Terrapin" und "One Offs, Remixes & B-Sides" und legte mit anderen Künstlern von Tru Thoughts und Ninja Tunes in ganz Europa und Nordamerika auf.

Mit der Veröffentlichung von "Animal Magic" im Jahr 2000 wurde Simon Green als ernstzunehmendes Talent in der Szene bekannt, das der elektronischen Musik eine echte musikalische Note verleiht. Seitdem wurde Bonobo bei Coldcut's Ninja Tune unter Vertrag genommen und veröffentlichte sechs weitere Alben, darunter das GRAMMY-nominierte "Fragments" im Jahr 2022, während er seine DJ-Performance zu einer voll orchestrierten Live-Band weiterentwickelte, weltweit auf Tournee ging und zu einem beliebten Mainstage-Performer auf den größten Musikfestivals der Welt wurde.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on!

Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

There are few Jamaican Artists with such an impressive career as George Dekker. For his brand new studio solo album Right To Be Here George Dekker has teamed up with renowned producers Mafia and
Fluxi. The Heywood Brothers Leroy (Mafia) & Dave (Fluxy) have been producing, remixing and touring for over 35 years now and have worked with a very impressive list of artists over the years ranging from touring with James Brown, Maxi Priest to doing remixes for Janet Jackson, Sting, Gypsy Kings and more.

New Don McLean album! With a hommage to George Floyd.

Although Santana had been famous for his live shows since his performance at Woodstock, the 1977 album Moonflower was his first live release (albeit interspersed with a series of studio recordings). It showcases the best of Santana in the mid-Seventies: the Latin-infused blues/rock, the spiritual jazz fusion, the unstoppable energy of Santana on stage. A cover version of The Zombies' mid-Sixties song "She's Not There" was released as a single and became Santana's first Top 40 hit in over five years.

Repress!

For The Alternate Blues, producer Norman Granz set aside his rule against issuing what are variously called in the recording business outtakes, breakdowns, or alternate takes.
The reason was that despite missed cues and procedural problems in the rhythm section, Dizzy Gillespie, Freddie Hubbard, and Clark Terry played the blues at a level of passion and expressiveness the equal of the versions originally released on The Trumpet Summit Meets the Oscar Peterson Big 4. In addition, there are four standards not heard in the original album. With Joe Pass, Bobby Durham and Ray Brown.

Happy 20th birthday to Family Album, the third recording of Faun Fables and the first one released on Drag City. These songs belong to sons and daughters, entwined and orphaned, domesticated and feral; to all the family vines unraveling from a ball of yarn. In this family album, runaways graze the wild together, a mother finds her courage playing the piano, dogs become thieves and wolves, and a son is taken too soon. Fourteen-year-old nymphs sit dangerously at the crossroads, a younger brother tries to find his place, packs of girls defeat fear with a march, and the nightly adventures of the household mouse are spied upon. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, whom inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

Mother Twilight is the second Faun Fables album. It has since been noted by Scottish author R.J. Stewart as a work containing true artifacts of the oral underworld tradition. Dawn and Nils made a hand-assembled first pressing and peddled it to nearly every bar and rural hall across North America from 2001-2003. Drag City reissued the CD in 2004. Things are glowing outside, enough to bring any sun worshiper in for the night. But you must remain outside and begin walking. It"ll prepare you for the night, which otherwise comes as a chilling surprise. If you pay attention this time, maybe you"ll understand why you"re becoming invisible. When your memory began, it wasn"t startling, wasn"t a mistake. It came out of an old, dark and familiar thing, like a storyteller, like Twilight... so save us from fear, mother, and tell your story. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, who inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.