Pop & Rock News

The first impression was that I could be going to listen to a sexy piece of exotica music from the heydays of the tiki culture back in the 50s and early 60s but then I checked the year of production and it said 1971. Also this is a European production, from France to be more precisely. Nino Nardini was a master of library sound productions for movies, TV series' and other events back then and this album is him taking his turn on what legends like Martin Denny and Frank Hunter created for the ultimate listening experience about ten or twelve years back when people intended to escape from the struggle of all day's life and the fear of the cold war turning hot through dreamy music that combined an easy and relaxed jazz with jungle sounds and colorful melodies creating an atmosphere of exotic places. Especially the flashing female humming choirs were typical for that old exotica music. Nino Nardini refreshes those - in 1971 already ancient - musical values with more contemporary elements of hot blooded funk and especially its wild percussion patterns, sweet wahwah guitars and an ever present rocking rhythm section. Blues and psychedelic rock flow gently into the mix to expand the effect on your imagination. The whole music here is lush with great arrangements. Grandiose string patterns often vest the atmosphere of great mysticism in a garment of lust for life and let the listener discover a peaceful world of swirling colors. The earthy rock aspect of the music then urges to come to the fore when the time is right before you seem to get lost on Eden's island spiritually just to get yourself back to the smoky urban clubs where the air is heavy and the sweat drips from the ceiling. All in all this is a beautiful soundtrack for fans of both worlds, the urban funk of the early 70s and the dreamy exotica music of the 50s and 60s. Both worlds get close to each other and at some points pervious towards each other. 'Jungle obsession' is a fine example of well executed library music of the 70s and indeed plays a not existing movie in your head with all different moods. Sheer excitement if you can catch the flow.

Richard Hawley follows his hugely successful UK tour with the release of 'I Still Want You', the second single to be lifted from his massively acclaimed new album 'Hollow Meadows'. The single includes a beautiful live, acoustic recording of album cut 'Tuesday PM' on the b-side.

Legendary Modern Jazz album from Germany and the true holy grail of European LPs. First session recording by the internationally awarded pianist Walter Strerath and his brilliant sidemen from 1969, originally released with a beautiful silk-screen printed cover on the tiny Jazz Groove' label in an edition of a few hundred copies only. Outstanding self penned tunes by the trio and Hans Thomas (trumpet/ fluegelhorn) plus Christian Lindner (saxes). A monument of a jazz album with originals booking in at 3.000$ on ebay. Remastered 2008, 1:1 fold out cover (punched!) with original liner notes.

On his tour of Japan in early 1975, Miles Davis presented some of the most searing, electric fusion ever heard in concert. The performances on this 2CD set taken from an FM broadcast, hail from a January 22 gig at Shinjuku Kohseinenkin Hall in Tokyo. Staged ten days earlier than the February 1 shows at which his Agharta and Pangaea LPs were recorded, this includes some songs not contained on those albums, and spotlights one of the most adventurous bands Davis assembled.

The soundtrack to the 2015 animated motion picture, featuring new recordings of the Vince Guaraldi Classics: "The Linus and Lucy Theme" and "Skating." Charlie Brown, Snoopy, Lucy, Linus and the rest of the "Peanuts" gang make their big-screen debut, like they've never been seen before, in state of the art 3D animation. Charlie Brown, the world s most beloved underdog, embarks upon an epic and heroic quest, while his best pal, the loveable beagle Snoopy, takes to the skies to pursue his arch-nemesis, the Red Baron.

From the imagination of Charles M. Schulz and the creators of the "Ice Age" films, "The Peanuts Movie" from Blue Sky Studios and 20th Century Fox is in theaters starting November 6th 2015. "The Peanuts Movie" soundtrack was created with the help of movie director Steve Martino and features new recordings of Vince Guaraldi classics: "Linus And Lucy" & "Skating" as well as the original score from Christophe Beck ("Frozen"). The soundtrack also features Grammy-nominated Meghan Trainor, who recorded an original song, "Better When I'm Dancin'," for the film which she has performed live on her 2015 headlining tour.

This is one release sure to please both adults and children alike!

To celebrate the 60th Anniversary of the Peanuts brand, Peanuts Greatest Hits is an all-new compilation featuring 12 of the most memorable recordings from the beloved animated Peanuts TV specials, all with the sophisticated, yet accessible jazz stylings of the Vince Guaraldi Trio.

The album includes such favorites as the instantly recognizable "Linus and Lucy", the "Charlie Brown Theme" and the humorous "Little Birdie," and includes all new liner notes by Peanuts historian Derrick Bang.

Strictly Limited 180g LP (300 copies)

* Grammy-award winner Adrian Quesada (Prince, Grupo Fantasma, Brownout, Shawn Lee, Ocote Soul Sounds) meets
the Austin (TX) collective Epirus Quartet (The Temptations, Cayetano, DoSS, Roxy Roca, Diplomats of Solid Sound) for a series of timeless cross-over jazz sessions. Recorded live in Big Orange Studios, Transatlantic' radiates raw groove from needle-drop to needle-lift.

* Featured: Jazz FM, The Hedonist, Popaganda, SOUL magazine, So Pedrada Musical (Brasil), Paris Djs, Athens Voice, Deutschland Radio Kultur, Rockandroll Circus, Off Radio, musica-re, stop that sound

Calypso, kwela, highlife and bebop, a little rock n roll and an Indian mambo, a shango hymn, some Sun Ra-style cha cha cha. A lake in a Johannesburg zoo, a Chinese on the Harrow Road; astronauts and prostitutes, landlords, streetfighters and cricketers.

'As well as the appeal of this little-known music — inventive, precocious and fluent by turns — there's the pleasure of discovering the rich, frequently moving histories of the players, thanks to the exceptional sleevenotes... CD Of The Week' (The Observer).
'... matches the superlative standard of its predecessors' (Independent On Sunday).

The music and notes are presented alongside rare artist photographs by Val Wilmer.

Almost all of the afro-Cuban music in this compilation fell under the new marketing category 'salsa' (up till then it would have been simply called Latin music), and its cradle was New York City, where the tradition flourished amidst the constant mix of ethnicities and so many styles of music.

It was inevitable that afro-Cuban music would proliferate in new genres reflecting its new home. Afro-Cuban jazz was born in New York City, through the amalgamating creativity of musicians like Chano Pozo, Machito, Duke Ellington and Dizzy Gillespie. Likewise Boogaloo in the mid sixties, coming out of Harlem, joining Guajira and son with soul, R and B and doo-wop.

The recordings on Son Cubano NYC were made over the decade beginning 1972, for the new Salsoul and SAR labels and their sisters Mericana and Guajiro. For the trumpeter Chocolate, the music has 'broader harmonies and touches of jazz phrasing, but never leaves the raices and cinquillo... Cuban music is natural - its essence is its raices [roots]'. For the singer Henry Fiol, 'New York salsa is a hybrid. When Cuban music moved to New York it added another flavour.'

Latin music was exploding in the City. You could hear deejays like Polito Vega playing on the radio at any time of day; you could go dancing any night of the week, throughout the boros, at clubs like Corsos, Casablanca, Bronx Casino, Ochentas, Club Cabrojena, Carlos Ortiz' Tropicana, Hunts Point Palace. And yet — held back because of the unmistakable Cuban personality of its music — 'the success of SAR was due mainly to word of mouth', as co-founder Sergio Bofill recalls. 'We didn't get airplay and found that we could do without it and still sell albums in the USA, Europe, and Africa'. This was still the period of the Cold War — when Eddie Palmieri was accused of 'communist salsa' for his song Mozambique (which isn't even salsa) — and the radio stations did their bit to suppress Cuban culture.
Within a few years — by the mid-80s — New York salsa was becoming stagnant: 'boring and monotonous', in the words of historian Max Salazar; for Charlie Palmieri, 'Europeanized' in its disavowal of improvisation. The music-making on this album was dismissed as old-fashioned. Actually — in the glory of its long, flowing, rootsy forms, in the irresistible spell it casts on dancers everywhere — it is timeless.

Al Angeloro

'Vibrant and beautiful almost beyond words, the fifty year old recordings being collected on Honest Jons' London Is The Place For Me series are giant and precious treasures of early black British music. Exquisite artistic achievements in their own right, they also throw light on the early development of post bop jazz in the UK.
Volume one in the series, released in '02 and subtitled Trinidadian Calypso In London, 1950-1956, features all-but-forgotten masterpieces of reportage, social commentary and louche wit from Lord Kitchener, Lord Beginner, the Lion, and other recently arrived young calypsonians. This second volume, subtitled Calypso And Kwela, Highlife And Jazz From Young Black London, concentrates on the same period but widens the geo-stylistic net.

'Featured musicians, caught early in their careers and still working within the rich contexts of their native folk musics, include trumpeter Shake Keane from St. Vincent, later a collaborator in Joe Harriott's free jazz explorations, but in '55 on Baionga in exuberant jazz-highlife mode; clarinetist Willie Roachford and trumpeter Harry Beckett, from Barbados, soloists in Ambrose Campbell's jazz-infused West African Rhythm Brothers highlife band; and from South Africa, alto saxophonists Gwigwi Mrwebi and Dudu Pukwana, together with two of Pukwana's Blue Note colleagues, pianist Chris McGregor and trumpeter Mongezi Feza.

'Mrwebi's Nyusamkhaya, which also features Pukwana, is a Fort Knox-certified 24 carat early kwela mothernugget, the man's Africanized Earl Bostic sound fully and gloriously developed. The bass player is Coleridge Goode, from Jamaica, who later played key roles with Harriott and with John Mayer's seminal Indo-Jazz Fusions project. Pukwana, Feza and McGregor add a township-jazz dimension to Nigerian Tunji Oyelana's Omonike.

'Jazz also gets lyric and stylistic look-ins on two early-mutant calypsos: Young Tiger's Calypso Be and King Timothy's Gerrard Street. Tiger ridicules the 'monstrosity' which is bop, but nonetheless includes a stirring bop-informed solo from Jamaican tenor saxophonist Sam Walker. Timothy instead celebrates the music, and London's modest then-answer to 52nd Street, Soho's Gerrard Street (but asks, 'Another thing I don't realise/Why they all have dark glasses on their eyes')

'Straightahead calypso at its finest comes on Kitchener's My Wife's Nightie — where, unembarrassed by his own infidelity, the singer demands of a one-night stand that she 'Come back with mi wife's nightie/Or I charge you for larceny' — and Lion's masquerade-spooky Kalenda March, catching a similar shiver-up-the-spine vibe as Beginner's awesome 'Fed-A-Ray' on volume one.

'Truth is, there are no standout tracks here. It's all wall to wall magic and beauty and loose-limbed dance rhythms. But Campbell's percussion-only Ashiko Rhythm — a mellow hand drums, thumb piano, and gong-gong workout on the basic shave-and-a-haircut/two-bits beat — and the Rhythm Brothers' delicate and lullaby-like closer Sing The Blues can't go by without mention.

In their quest to hypnotize the planet, HBE have become world travelers. Performing extensively on 6 out of the 7 continents, this record is meant to bring the audience in on their international adventures as a band & family. With "Baggage Claim", "Exchange Rate," "Favella Funk" (dedication to Brazil) and "Saikou Shibuya Nights" (ode to nightlife in Tokyo) the band paints a picture of a group traversing the globe purveying their signature style and culture. The musical style of this record is grounded in the same full-on live brass sound fans have come to love with added instrumental and vocal accompaniments, including songs that range from classic hiphop to contemporary jazz, soul, and Brazilian maracatu. "A huge brass bridge of hypnotic polyphony connecting the cosmic jazz of Sun Ra's Arkestra with the urgency of hiphop and the sweeping emotional scale of a Curtis Mayfield blaxploitation opus" (Fader).

Soul Jazz Records new Sounds of the Universe: Art + Sound 2012-15 is a new double album CD (and two separate volumes of double-vinyl) featuring a line-up of some of the most forward-thinking and progressive artists and producers working with electronic music around the world today.
This lovingly compiled collection features a stunning array of contemporary artists: Chicago's Afro-futurist genius Hieroglyphic Being, Kassem Mosse (aka Gunnar Wendell/Siege of Troy), one of the most talked-about, respected artists in underground house and techno, out of Detroit's Moodymann stable comes Andres, also featured is Los Angeles-based Ras G, associated with the Brainfeeder label established by fellow producer Flying Lotus, and many more!
This new collection features a first CD of tracks recorded exclusively for Soul Jazz Record's bespoke Sounds of the Universe label. These were originally issued under their Art + Sound series between 2012 and 2015 as unique hand-etched and original commissioned art pieces (reproduced here) collectors' 12' singles - all pressed in micro-editions of 250 copies for each artist's release that were only ever available exclusively from Soul Jazz Records' boutique Sounds of the Universe shop in Soho, London.
The second CD features a fantastic set of all brand new exclusive tracks from the likes of Seven Davis Jr, Drexciya collaborator DJ Stingray, deep house virtuoso Mike Huckaby, Glaswegian noise-punk six-piece Golden Teacher, and lots more - all created and commissioned especially for this release. These songs are not available anywhere else in the world.
Together these 2CDs comprise an amazing selection of new progressive electronic music.
This album is released as double CD pack with slipcase and booklet. It is also available as two separate limited edition double vinyl editions in heavyweight vinyl and gatefold sleeves with full artwork + free download codes, and as a worldwide digital release.

There will be no digital release for these big dancefoor versions... strictly vinyl only!
Witching Hour - Jonny takes DJ Shadow's 'Midnight In A Perfect World' into Jungle/D&B territory
Inhale - Pink Floyd's 'Breathe' taken to the Soulecton dancefoors
Super Skunk - All-tme classic from Reprazent gets the Footwork/Juke treatment
Tempest 2 - The Doors get a beat-head makeover
Jonny Faith says: 'These were an exercise in taking some classics from my past and remoulding
them into the present day so they can fnd their way into to modern sets and dancefoors. Also, the
Reprazent and DJ Shadow ones in partcular are meant as tribute to two artsts/acts who had a major
infuence on me as a youngster. I used to listen to Shadow's 'Endtroducing' on my way to study my frst
music producton course back in Edinburgh, and it has a strong place in my musical psyche. And 'New
Forms' was THE record that really turned me on to Jungle/D&B, which became my obsession for some
years although downbeat and broken beat stuf was always there for me too'.
This is the frst release on Zorite Records, and the aim of the label is to put out vinyl only versions of
music for the DJs. So, frst up is Jonny Faith - a purveyor of Future Beats, Organic Sounds and Space
Age Synths, whose burgeoning career has seen him release well-received tunes on Civil Music and Tru
Thoughts.

For the first time on vinyl the great score composed by Charles Mingus for the legendary 1959 directorial debut of John Cassavetes Shadows. Much has been said about the controversial relationship between the two great masters.

'(...)The score encapsulates Cassavetes' and Mingus's unique approaches to both improvisation and composition in their respective media, illuminating the oppositional nature of jazz to mainstream cultural production and the underbelly of race relations in 1950's America' (Mingus, Cassavetes and the Birth of a Jazz Cinema - Ross Lipman)






S

Beautiful reissue of the hottest Japanese Jazz Rock LP around, killer psychedelia all the way.

Check Youtube for the incredible progressive tune 'Clair Deluge' . Once again a beautiful gatefold pressing with insert and obi, strictly limited to 1000 copies.

Ace Records marks its 40th anniversary with a release that celebrates the way we started: the seven-inch single. It also pays tribute to the original concept of an album - which was a book of singles.

We've chosen a cross-section of the musical styles we've been releasing for the past forty years. Each single is housed in an authentic replica sleeve accompanied with illustrations and sleeve notes, bound into a book-type hard cover box.

A limited edition of 1000 copies worldwide - you'll probably only get one chance to order this highly desirable and collectable artefact.

DISC ONE
1A) CONFESSIN' THE BLUES (ALT) - B.B. King
1B) TOUGH LOVER (ALT) - Etta James

DISC TWO
2A) ONE CUP OF COFFEE AND A CIGARETTE - Glen Glenn
2B) YOU'RE UNDER ARREST - The Shirelles

DISC THREE
3A) NOT MY GIRL - The Platters
3B) NO OTHER GUY - Lou Johnson

DISC FOUR
4A) TRY A LITTLE TENDERNESS (ALT) - Otis Redding
4B) YOU GOTTA HAVE SOUL - James Carr

DISC FIVE
5A) PSYCHEDELIC SALLY - Eddie Jefferson
5B) KEEP ON BROTHER KEEP ON - Johnny King and Fatback Band

DISC SIX
6A) I GOT MINE - The Charlatans
6B) GET THE PICTURE (ALT) - The Scot Richard Case

DISC SEVEN
7A) DON'T CRY FOR ME - The Zombies
7B) KEYS TO YOUR HEART - The 101'ers

REPRESSED !!

Erland´s second album has a playful, richly visual mood, but is also quite dark and menacing in places. Elements of krautrock, drone music, ambient music and contemporary music are woven together here with dark, rock-inspired energy.

The album is named after the legendary instrument-maker Pete Engelhart's unusual chromatic set of bells, "Blossom Bells", which Erland plays in several places on the album. He also plays a variety of percussion instruments, saw, electronic instruments and some specially constructed instruments, such as cake moulds with springs. The collection of instruments used on the album is extensive, imaginative and unique. His new compositions are often inspired by improvisations based on the exploration of fascinating sounds.

Erland plays all the instruments himself, as on the previous record, but has produced the album with Johnny Skalleberg as well as with Jens Petter Nilsen and Hallvard W. Hagen from the electronica duo Xploding Plastix - a group Erland has worked together with for over a decade.

Furulund' is a collection of atmospheric, low-key and evocative instrumental pieces,

recorded in analogue at the Norwegian guitarist and self-taught multi-instrumentalist Geir Sundstøl's home studio.

Sundstøl has been making music for a living since 1988. He has left his unique musical mark on 260 records featuring everyone from a-ha to Nils Petter Molvær. 'Furulund' is the first record he is releasing under his own name, and is a long-awaited debut from an extremely popular musician.

Sundstøl has toured all over the world, and has been the most frequently played performer on Norwegian radio for several years. A concert he held with country artist Jimmie Dale Gilmore in the USA in the 1990s gave film directors and brothers Joel and Ethan Coen the inspiration for Gaear Grimsrud, Peter Stormare's character in the film 'Fargo'.

His music draws inspiration from jazz, blues, roots and country, but can be characterised most of all as original, eccentric and lovely. Sundstøl is an avid collector of instruments, and his home studio is full of rare and unusual finds. He plays most of the instruments on the record himself, but has also enjoyed the input of a few colleagues representing what can without exaggeration be called the upper echelon: keyboardist David Wallumrød (Bernhoft) and drummers Erland Dahlen and Michael Blair (Tom Waits, Elvis Costello, Lou Reed). Dahlen and Sundstøl have played together in a number of contexts, including Nils Petter Molvær's group and the band Morris.

For the past fifteen years pianist and keyboardist Morten Qvenild has been one of the most creative musicians in the Norwegian music scene. Qvenild has both an unusual flair for pop and a passion for experimentation and improvisation. Now, at last, his long-awaited solo debut album has arrived.



Qvenild is probably most well known as a member of the unusual piano trio In the Country, half of the duo SpaceMonkey with drummer Gard Nilssen, and Susanna Wallumrød's partner in Susanna & the Magical Orchestra, but he has also played in a number of other bands. Altogether Qvenild has appeared on at least 50 albums with artists such as the National Bank, Solveig Slettahjell Slomo Quintet, Susanne Sundfør, Arve Henriksen, Thomas Dybdahl, Marit Larsen, Nils Petter Molvær, Shining, Jaga Jazzist, Frida Ånnevik and Trinity as well as many others.



For the past few years Qvenild has been working on developing "the HyPer(sonal) Piano". By integrating various types of electronics into the grand piano he has radically expanded the instrument's sonic palette. The inventive tunes and improvisations on his solo debut, 'Personal Piano', create a platform that highlights a unique and heavily processed world of sound and a remarkably intense musical idiom. The music is primarily instrumental, but Qvenild also sings on a few tracks.

Finally, after much wrangling, the Blank Recording Company is truly chuffed to be able to make available again for the first time since their original releases the three highly sought after and extremely rare albums by John Sangster, originally released on Festival Records from 1967-1969. October sees the release of the first two, December sees the release of the third and final album from 1969, Ahead Of Hair. All three of these albums are mastered from the original analogue master tapes. All three sport the original cover art All three are sounding better than ever.

John Sangster is known the world over as a legendary Australian jazz multi instrumentalist, composer and arranger. Aside from releasing his own records, his name is on credits on many other albums from straight ahead jazz, prog, psych, country rock, soul and all points between. Copperwine, Tully, Don Burrows, Ray Brown / Moonstone, Sven Libaek, Judy Bailey. The list goes on.... Here's where it all came together on the solo tip...

First album, originally released in 1967. An all cover affair. A mixed bag of current pop hits from the likes of Bob Dylan, The Beatles, Rolling Stones with Brazilian bossa nova, jazz and takes on soundtrack themes. Players on this album are John Sangster, George Golla, Sven Libaek (who also handles arrangements), Ed Gaston and Len Hutchinson. Produced by Pat Aulton.

The genre-crossing eight track album is the frst of a trilogy, inspired by a Colombian local legend Jaime Llano Gonzalez, a Hammond organist famous for playing traditonal Colombian music such as Pasillos, Bambucos, Cumbias, and foreign rhythms such as foxtrots or waltzes, in an ambient style.
'The album was writen as an ambient record but at the same tme searching for an image of a impossible virtuoso organist' says Eblis Javier Alvarez Vargas, the man behind The Meridian Brothers. Gonzalez's style of playing traditonal rhythms on the Hammond organ inspired Vargas to build a whole synthesizer ensemble simulatng this sound and developing intricate textures and counterpoint. This style of play is ofen impossible for a single
organist, giving rise to Vargas' descripton of the genre as 'impossible organ music'.
Requiring some digital sequencing techniques to achieve the result in the album, Vargas also chose to utlize an acoustc rhythm secton, including acoustc Bass, percussion or drums, also adding electronic drums and samplers.
Album opener 'Vertgo' is streaming ahead of the release. Inspired by Gyorgy Liget's piano studio of the same name, the track simulates an eternal fall in melody, with the listener feeling the efects of vertgo. Elsewhere on the record 'Contenda' is inspired an Anibal Velazquez tune, called 'Kung-Fu', 'Ilidio' is inspired by a vintage romantc bolero, 'Lágrima' and 'Amargura' are based on traditonal rhythms Bambuco and Pasillo, and 'Cazador', a fast
Cumbia, was inspired by a poem about a hunter and his daily habits.

Agharta was recorded on the afternoon in 1975, at one of two concerts Miles Davis performed at the Osaka Festival Hall in Japan. He performed with his septet—flautist and saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, guitarist Reggie Lucas, and Pete Cosey, who played guitar, synthesizer, and percussion.

Produced and recorded by Teo Macero, the album's four seemingly unstructured segments emphasize the playing of Davis' sidemen rather than his own trumpet. It eschews both melody and harmony in favor of a combination of riffs, crossing polyrhythms, and Funk-oriented grooves for soloists to improvise throughout.

The album has received retrospective acclaim as an important and influential Jazz-Rock record. Its abrasive music and Cosey's innovative playing influenced a generation of young musicians, including those in the British Jazz scene.

Very early 1962 recordings featuring a very young Janis Joplin. Recorded part at the Folk Theatre in San Jose, 1962 where Janis is joined by Steve Talbot on stage, and part at the Coffee Gallery in San Francisco, 1962, this collection of raw blues tunes (most of which on vinyl for the first time!), is essential for any fan of the iconic performer. Limited edition on splatter yellow vinyl with green speckles, in stickered deluxe transparent sleeve with flap. Handnumbered to 300 copies only!

The LA based group explore new soul / jazz / electronic ground, with a penchant for exquisite arrangment they create textured and catchy rifs which will excite everyone from post-bop jazz lovers to
contemporary neo-soul crowds.
This long player tes together ten chilled out grooves which ooze soul-jazz rhythms, horns and sweltering, heart-flled vocals. Using soulful horn solos and vibrant key rifs and breaks, 'Please Rewind' sounds like an arthouse flm score to an unfolding LA love story, which seeps into your subconscious and out of your headphones The name 'Moonchild' came about before the project had even started. 'The three of us bonded on evening while star-gazing, so when it came to think of a name for the band, we knew that it was righ Fast-forward three years of jamming together on the University of Southern California's Jazz programme, and moonchild have played some of the biggest Jazz festvals in America (Montreal, Capita Arizona, Sandiego etc.), and toured with prolifc names from Stevie Wonder to Jill Scot and James Posner.

'So good... New album from Moonchild!' - Giles Peterson
'Delicious' - Laura Mvula
'Love!' - Jill Scot

1. Alexander Patton - A Lil Lovin' Sometimes 2:21
2. The Contours - Just A Little Misunderstanding 2:40
3. Bunny Sigler - Let The Good Times Roll And Feel So Good 2:50
4. Chubby Checker - At The Discotheque 2:28
5. Leon Haywood - Baby Reconsider 2:36
6. Earl Van Dyke - 6 By 6 2:21
7. Flamingoes* - The Boogaloo Party 2:33
8. Billy Butler - Right Track 2:27
9. Willie Tee - Walking Up A One Way Street 2:43
10. Detroit Spinners* - I'll Always Love You 2:45
11. The Poets (4) - She Blew A Good Thing 2:45
12. The Tams - Hey Girl, Don't Bother Me 2:31
13. The Impressions - You've Been Cheatin' 2:34
14. Frankie Valli - You're Ready Now 2:17
15. The Spellbinders - Help Me (Get Myself Back Together Again) 2:25
16. San Remo Golden Strings - Festival Time 2:37
17. Inez And Charlie Foxx - Tightrope 2:35
18. Doris Troy - I'll Do Anything 2:40
19. Jamo Thomas* - I Spy (For The FBI) 2:33
20. Mitch Ryder & The Detroit Wheels - Breakout 3:15
21. Little Anthony & The Imperials - Gonna Fix You Good 2:31
22. The Artistics - I'm Gonna Miss You 2:40
23. Paul Kelly (3) - Chills And Fever 1:52
24. Candy And The Kisses - The 81 2:33
25. Willie Mitchell - That Driving Beat 2:09
26. Alvin Cash* - Twine Time 2:21

Harry Miller - Bass
Louis Moholo - Drums
Alexander von Schlippenbach - Piano
Peter Brötzmann - Saxophone
Frank Wright - Saxophone
Willem Breuker - Saxophone
Toshinori Kondo - Trumpet
Alan Tomlinson - Trombone
Hannes Bauer - Trombone

Recorded during the 164th NDR-Jazzworkshop, november 12th,1981 at the Funkhaus Hamburg.
first released on FMP in 1983
Produced by Peter Brötzmann and Jost Gebers
Cover design by Peter Brötzmann