Cerca:mick

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Taken from his standout album 'All Around The World', Serge Funk is back on vinyl with two delectable cuts: 'Move On Up' and 'Runaway'.

Both tracks get that extra magic touch from Groove Culture label bosses Micky More & Andy Tee for this release as they serve up a double header of specially made seven inch edits. Glamorously groovy, club heaters that blend all the best elements from disco, house, funk and boogie. 100% party starters right here.

DJ Support: Dimitri From Paris, Danny Krivit, Dr Packer, Late Nite Tuff Guy, John Morales, Moplen, Craig Charles and many others…

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

Mickey Nox is back with his latest original EP 'Strictly Commercial'.
Four new hammers all hand made by his Ghost Producer (Read credits). After testing 'Lines' successfully on his 2022 tour. It then kicked off the rest of the production once he returned back in the studio. Techno Tourist. A piss take done well that will blow the doors off. Slammer and Corruption & Lust come in more typical Nox Fashion. Still No fillers though. Own it on marble pink wax. #f*&kinghammers only

Dark Horse Records veröffentlicht das legendäre Live-Konzert von Joe Strummer & the Mescaleros in Acton Town Hall, neu gemastert vom Grammy-Preisträger Paul Hicks (The Beatles, The Rolling Stones, George Harrison) erhältlich auf 2LP-Vinyl und CD.

Das am 15. November 2002 aufgezeichnete Konzert war ein Benefizkonzert für streikende Feuerwehrleute und war einer von Joes letzten Auftritten (er verstarb einen Monat später). Teil des Auftritts eine Reunion mit Mick Jones, Strummers ehemaligem Bandkollegen von The Clash, der zum ersten Mal seit fast zwanzig Jahren für drei Songs wieder mit Strummer auf der Bühne zusammenkam. Es war auch das letzte Mal, dass sie gemeinsam auf der Bühne standen.

Die Vinyl ist in einer Gatefold-Hülle verpackt, inklusive bisher ungesehenen Fotos von der Show sowie neue Linernotes vom ehemaligen Feuerwehrsekretär Andy Gilchrist, der die Band bei der Show vorstellte und die Streiks anführte, die Joe unterstützte. Dies ist das erste Mal, dass das Konzert mit einer umfassenden Verpackung auf Vinyl veröffentlicht wird. Die extrem limitierte vorherige Version, die 2012 exklusiv zum Record Store Day erschien, hatte nur eine DIY-inspirierte Klarsichthülle und war das erste Mal, dass es auf CD
veröffentlicht wurde.

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

S. O. R. M sind ein Hard Rock/Heavy Metal Act aus Lidkoping, Schweden. Kurz nach der Bandgründung veröffentlichte S. O. R. M die herausragende "Hellraiser EP" und führte die Band mit der hookgeladenen Lead-Single und dem Videoclip "Gypsy Queen" der Welt vor. S. O. R. M. bestätigte seinen Platz als Act, der in der Lage ist, ein breites Heavy-Musik-Publikum anzusprechen, indem er zeitgenössischen und traditionellen Hard Rock und Heavy Metal verschmelzte und Fans von Acts wie Grand Magus, GHOST und Night Flight Orchestra bis hin zu den Ikonen des Genres, WASP und Judas Priest, ansprach. Im Jahr 2020 unterschrieb die Band mit den Mitgliedern Micke Holm (Guitar and Vocals), Johan Östman (Bass) und Robin Wernebratt (Drums) beim neu gegründeten Label Noble Demon und schloss sich Acts wie Night Crowned, Dawn Of Solace, No Raza und Gomorra an.Die Band wird 2023 ein Debütalbum veröffentlichen. Im Jahr 2021 schloss sich die Band für einige Shows mit dem Gitarristen von W. A. S. P. Doug Blair als Vollband und als akustisches Duo mit Micke und Doug zusammen.

Das Jeffrey Lee Pierce Sessions Project, das sich aus Teilen des legendären Gun Clubs, Freund*innen des Sängers Jeffrey Lee Pierce (1958-1996) und Fans des Künstlers zusammensetzt, präsentiert mit "Axels & Sockets" den dritten Teil eines außergewöhnlichen Projekts. Mit Künstler*innen wie Nick Cave, Debbie Harry, Mark Lanegan, Lydia Lunch, Warren Ellis, Mick Harvey und Kid Congo Powers sind hier viele bekannte Namen der ersten zwei Teile "We Are Only Riders" und "The Journey Is Long" vereint. Zum ersten Mal dabei sind keine Geringeren als Mark Stewart, Thurston Moore, Primal Scream, Andrew Weatherall und Punkikone Iggy Pop! Koordiniert von Pierce"s musikalischem Wegbegleiter Cypress Grove, schaffen es die Musiker*innen auch beim dritten Teil, aus Songskizzen, Demoaufnahmen, Riffs, Textfetzen und Soundschnippseln, die Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte, neue und atemberaubende Songs zu machen.

Nach dem erfolgreichen 2009er-Debüt "We Are Only Riders" legt das Jeffrey Lee Pierce Sessions Project ein zweites Album mit zuvor unveröffentlichten Vorlagen des Gun-Club-Sängers Jeffrey Lee Pierce (1958 - 1996) vor, wiederum eingespielt von befreundeten Artists und Weggefährt*innen. Ausgangspunkt für viele Songs war eine Musikkassette mit Songideen von Pierce, die Cypress Grove, ein Musiker aus der späten Gun-Club-Phase, zufällig beim Aufräumen fand. Wie im von Pierce so geliebten Jazz, spielte beim Sessions Project jeder bei jedem, interpretierte oder bearbeitete man gemeinsam textliche und melodische Fragmente. Auf "The Journey Is Long" trifft sich ein Who"s who des Indie-Adels: Nick Cave, Mick Harvey, Debbie Harry & Chris Stein, Lydia Lunch, Kid Congo Powers, Tav Falco"s Panther Burns, Mark Lanegan & Isobel Campbell, Steve Wynn, Warren Ellis, Barry Adamson, Thalia Zedek & Chris Brokaw, Hugo Race und viele andere.

'Hearts For Sale' ist die fünfte und neueste Compilation der Ace-Serie mit Compilations, die den US-Girlgroup-Sound der 1960er Jahre in den Mittelpunkt stellen. Wie bei den Vorgängern liegen der LP umfangreich illustrierte Inner Sleeves mit 2.500 Wörter umfassenden Liner Notes des Compilers Mick Patrick bei. Klassisch, schwarzes Vinyl. Tracklisting auf B2B!

From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.

“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.

Wewantsounds continues its Akiko Yano series with the reissue of her cult classic 'Ai Ga Nakucha Ne' recorded in 1982 and co-produced by Ryuichi Sakamoto. Featuring Japan, the album includes additional recording in Tokyo with YMO and is mixed by Steve Nye and Shinichi Tanaka. It is the first time the album is released outside of Japan and the deluxe LP features the original artwork with gatefold sleeve and a lavish 24-page colour booklet with sessions photos by Pennie Smith (famous for The Clash's London Calling photo). The reissue also includes a new introduction by Mac DeMarco and a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. The audio remastered from the Original tapes by Mitsuo Koike.

'Ai Ga Nakucha Ne' ('there must be love' in Japanese) is Akiko Yano’s 6th studio album and follows 'Tadaima' in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English fellow musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. ​​Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes "Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7."

The eleven tracks featured on "Ai Ga Nakucha Ne," mostly composed by Akiko - are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, "I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.

​There are many highlights on the album, from the pop edge of "Aisuru Hito Yo" to the avant groove of "Another Wedding Song", each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian.

The original 1982 LP release included a 24 page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album, Akiko and Steve Jansen making this release of 'Ai Ga Nakucha Ne' a unique testament to Akiko Yano's greatness.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

The tenor sax master attacks five standards and in the process produces some of
his most intense performances on record. Taped at the Van Gelder Studio in one
marathon session on July 8th 1965, this electrifying Impulse! Records debut also
featured Ray Bryant on piano and Mickey Roker on drums.

Produced alongside Aaron Dessner (The National, Sharon Van Etten, Taylor Swift), Collections From The Whiteout heralds the first time Ben has opened the door to production outside of he and his bands closer confines.

The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections.. These are songs written from headlines scanned, or news stories scrolled past. Ben has taken those snippets and let his curiosity take control, creating an aural scrapbook that reverberates with tape loops and guitar FXs.

There are sounds akin to Brian Eno, Durutti Column and Steve Reich in there, but also Neil Young and Townes Van Zandt. It’s a million miles away from Ben’s multi-platinum selling debut, but a path plotted from Ben’s then to his now isn’t so far removed.



The door was also left open to some new players too. Yussef Dayes, one of the UK’s most innovative young drummer/producer’ especially in the field of jazz features, as does Kate Stables from This Is The Kit, James Krivchenia from Big Thief, Kyle Keegan from Hiss Golden Messenger, and the aforementioned Aaron Dessner lent his hand too where needed. Long-term guitarist to Ben’s band, Mickey Smith, remains a reassuring presence. Rob Moose, a long-standing arranger of strings for Bon Iver and a collaborator to Laura Marling, Blake Mills, and Phoebe Bridgers is also present, peppering the mix.

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Incredible jazz / prog / folk score to groundbreaking tattoo film by maverick filmmaker. Unreleased until now, so don’t go saying it’s a reissue because it isn’t, but I’m sure some people will because they always do.

John Samson (1946 - 2004) was a truly great documentary maker. He must be as I’ve been obsessed with his work for many years. Educated first at Glasgow School Of Art (circa 1963) and then finally in the art of film making at The National Film And Television School in Beaconsfield - he headed there in its opening year of 1971 having made a short film that got him a scholarship.

It was at the NFTS that Samson met Mike Wallington, who was to become his right hand man and eventual producer; together as a quite brilliant team they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society. Tattoo (1975) Exploring the rather clandestine world of tattooing in the UK. Dressing For Pleasure (1977) Exploring the rather clandestine world of festish in the UK. Brittania (1979) A film about railway enthusiasts and a steam train restoration.

Arrows (1979) The life of dart player Eric Bristow. Drag Ball (1981) An unreleased film about the annual Porchester Hall Drag Ball. The Skin Horse (1983) BAFTA winning film about The Outsiders Club, a dating agency for disabled people. The subject matter in all films was always unusual for the time, and Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries also do not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects.

I’ve tried for a long time to find the music for a couple of his early films (there was actually an original 7” for Arrows) - so far this is the only unreleased soundtrack I have found. This one was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Jolliffe still writes, records and releases today and once i had made contact with him we traced the original Tattoo master tape to a box at his brother’s house. Musically it’s charming, slightly folky, a touch baroque, there’s a whiff of prog too, and it perfectly suited this early documentary about the art and desire of tattoos. I only wish it was longer. But the film is only 16 minutes long. Seek it out if you can. Try and find all the Samson films, they really are a joy.

As well as featuring intimate footage of tattooed people, the film also includes a rare and very early interview with Alan Oversby (better known as Mr Sebastian), a seminal character in the development of tattoos and body modifications worldwide - it was he who eventually was to tattoo and pierce Genesis P-Orridge.

The images for this vinyl release were all found in Mike Wallington’s Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film. Most answered an advert in Time Out, and others included people from my home town of Aldershot where tattooist Bill Skuse and his wife, Rusty (the most tattooed woman in Britain at the time, and featured in the film) were based. His parlour was situated at the back of the arcade where we all used to lose all our pocket money in the slot machines.
The Musicians:
Steve Jolliffe - keyboards, flute, sax Geoff Jolliffe - bass guitar Julian Furniss - guitar Mick Kirby - drums

A long-awaited release, this is the 7” version of the Bob Dylan Classic “Blind Willie McTell”, out exclusively on black vinyl on August 20, 2021. The record will be available only at indie record stores and the Third Man Records online and physical stores. The 7” features two previously unreleased takes of the song, with the A-side being exclusive to this vinyl release. The B-side (take 5) will be included as part of Spring In New York: The Bootleg Series, Vol. 16 (1980-1985). The recordings on this single feature a formidable lineup of session musicians, including Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare. “Blind Willie McTell” was the first track seriously worked on at the Infidels sessions and the last attempted as recording concluded almost a month later. In the end, it did not make the Infidels album, but in 1991, the acoustic piano-guitar version that Bob Dylan and Mark Knopfler recorded the last day was released on The Bootleg Series Volumes 1-3. The full band version from the first day of the sessions will now see the light of day as part of Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Notes: ● Two previously unreleased takes of the Infidels outtake “Blind Willie McTell” ● The A-side (take 1) is not available elsewhere and is exclusive to this 7” ● Indie exclusive Packaging: Full-color glue-pocket sleeve, standard weight vinyl

Ursprünglich im September 2002 zum ersten Mal veröffentlicht, bekommt „Forty Licks“ noch einmal die Aufmerksamkeit, die es verdient: Die Kollektion von 40 der bekanntesten Songs der Stones wird nun zum ersten Mal sowohl digital als auch auf Vinyl veröffentlicht!

Ab dem 26. Juli – Mick’s 80. Geburtstag – kann man im Streaming in das Album reinhören und ab dem 28. Juli findet die 4LP als limitierte 180g Schwarze Vinyl ihren Weg in die The Rolling Stones Sammlung.
Die damalige Veröffentlichung des Albums markierte das 40-jährige Jubiläum der Band und den Start ihrer erfolgreichen „Licks“-Tour. Teil der zweieinhalb Stunden langen Tracklist sind unter anderem Songs wie „Satisfaction“, „Miss You“, „Paint It, Black“, „Get Off Of My Cloud“ und „Angie“. Diese Kollektion sollte also in keiner Fansammlung fehlen!

'Jump Into Love' is the new album from Half Japanese, true DIY noise-rock royalty, led by the ever-effervescent Jad Fair. It's a meeting of minds, a coming together from the world's favourite indie-alt-rock outsiders. Atypically out there and off-kilter, the album wears its heart on its sleeve through a cascade of new, dark and brooding songs from the band who would be king. Loved by Kurt Cobain, Daniel Johnston, Penn Jillette and outsiders everywhere, Half Japanese continue their quest for answers; creating a soundscape for a post-zombie land where bells chime and it's OK to say "Yes". It's another adventure; series 20 from an introspective parallel world where the super prolific Jad Fair cogitates on life, love, giants, the possessed and even bigger issues that simply swell the brain. Musing on the writing process, Jad explains "I feel a need to do music and do song writing. It's something I really miss when I'm not doing it. There's a certain amount of tranquillity that's obtained from the fact that you can be working on songs each day. I think you use that certain portion of your brain that is otherwise not used. I kind of kind of prefer using it than not using it." Half Japanese currently includes Jad with John Sluggett, Gilles-Vincent Rieder, Mick Hobbs and Jason Willett, a veritable who's who of DIY indie culture. 'Jump Into Love' was recorded at Tempo House, Baltimore, Russian Recording, Bloomington Indiana, Studio de la Trappe, Donneville France and la Casamurada, Tarragona Spain. The album was mixed by long time Half Japanese sparring partner Jason Willett at his home in Baltimore, Maryland. "Amid hard-riff jams, swinging ditties, lovelorn ballads and other catchy gems, Jad persistently breathes life into the Half Japanese" NPR "One of indie rock's most reliable sources of positivity" Pitchfork

Die erste offizielle Raritätensammlung der Rolling Stones, “Metamorphosis”, wurde ursprünglich im Juni 1975 veröffentlicht. Das Album vereint legendäre Outtakes und Raritäten sowie eine Fülle von Demos, die Mick Jagger und Keith Richards für andere Künstler komponierten und später von den Stones selbst neu aufgenommen wurden

Für Sorcery hat sich DeJohnette mit einer Riege virtuoser Bandkollegen zusammengetan, darunter Veteranen der Bitches Brew-Sessions von Miles Davis (Bassist Dave Holland) und der Headhunters-Band von Herbie Hancock (Bennie Maupin).

Diskursiv, meditativ, trippig, aber geerdet in geschmackvollen Grooves (der Deep-Digger-Drum-Break ”Epilog”) und durchzogen von Hendrix-auf-Jazz-Steroiden-Gitarren von den 6-Saiten-Helden John Abercrombie und Mick Goodrick sowie der seiner Zeit vorausgehenden elektronischen Verarbeitung von DeJohnette.
Die erste umfassende Neuauflage seit der Veröffentlichung des Albums im Jahr 1974 ab dem 14.07.2023 als Ltd. 1LP verfügbar.

Hailing from Macclesfield, Cheshire, and growing up in Cheadle Hulme, John Mayall had already made a name for himself on the Manchester blues scene before relocating to London in 1963 at the urging of Alexis Korner.

Following the breakup of The Bluesbreakers in 1968, Mayall took a three week break in LA, and it proved an eye-opener for him. As a result, Blues From Laurel Canyon was a concept album of sorts, a view of a Brit Abroad at a time when it wasn't de rigueur to travel. 2401 especially is an incredible confection – acknowledging Cream, foreseeing Led Zeppelin; Mick Taylor's slide guitar would soon be heard in the Rolling Stones. Fly Tomorrow is a nine- minute blues- rock tour de force.This re-issue faithfully replicates the original 1968 Decca Records UK stereo release with gatefold sleeve and is pressed onto high quality 180g vinyl.

UK soul stalwarts Stone Foundation celebrate 25 years and 10 studio albums together with a career retrospective. The tracklist includes their biggest collaborations (Paul Weller, Durand Jones, Graham Parker, Melba Moore, William Bell, Bettye LaVette, Nolan Porter, Mick Talbot and many more) alongside their best known tracks plus 2 brand new songs.

UK soul stalwarts Stone Foundation celebrate 25 years and 10 studio albums together with a career retrospective. The tracklist includes their biggest collaborations (Paul Weller, Durand Jones, Graham Parker, Melba Moore, William Bell, Bettye LaVette, Nolan Porter, Mick Talbot and many more) alongside their best known tracks plus 2 brand new songs.

MEANTIME das neue Album des kanadischen Songwriters Grant Davidson aka Slow Leaves, handelt vom Warten auf etwas Bedeutsames im Leben und davon, wie all die alltäglichen Dinge, die während des Wartens passieren, das eigentlich Bedeutsame ausmachen. Wenn man blinzelt, verpasst man es; wenn man zu viel nachdenkt, verpasst man es. Wenn man Glück hat, gibt es in der Zwischenzeit die Liebe und den Tod und nicht viel weniger. Das Album ist durchzogen von einer eleganten Erdigkeit, Meantime ist eine Sammlung von Folksongs, die mit paisleyfarbenen 1960er- und 70er-Jahre-Tönen verziert sind. Während die Musik eine Retro-Sensibilität aufweist, wird diese durch eine Unmittelbarkeit in den Texten ausgeglichen, die ihn fest in der heutigen Zeit verankert. Slow Leaves ist ein in sich geschlossenes Soloprojekt, bei dem Davidson jeden Aspekt der Musik und ihrer Präsentation kuratiert, einschließlich der Rolle des Multiinstrumentalisten, Produzenten, Coverdesigners, Fotografen und Videofilmers. Er betrachtet die Gesamtheit dieser verschiedenen Aspekte als wesentliche Teile eines größeren Projekts der Selbsterkenntnis durch künstlerische Methoden. Sein Folk- und Psych-Rock-Stil erinnert an ältere Songwriter wie Mickey Newbury, Nick Drake, Roky Erickson, Gene Clark und Neil Young. Aber sie leben auch in der Welt der modernen Klassiker wie Andy Shauf, Bonny "Prince" Billy, Bedouine, Big Thief und Bill Callahan. Seine seidige Stimme wurde schon mit Roy Orbison oder Bryan Ferry verglichen.

1000 Die-cut leather structure gatefold with eight artist photo cards & insert.

"Welcome to the America Dream Reserve, home to husband & wife duos, pub legends, one-man-bands, preachers’ sons, and country-lounge entertainers..."

About: America Dream Reserve is a home for kindred souls. An hour-long journey into the world of lo-fi drumcomputer folk, disco-pop-lounge, haunting ballads, obscure vanity pressings, and synthesized string ensembles. A collaborative compilation between Charles Bals, creator of the inimitable Club Meduse, and Smiling C.

Sleeve: This is a premium edition of ADR housed in a die-cut leather structure gatefold. It comes with eight loose double-sided swappable photo cards with artist photos on both sides, and an insert with write-up about the project. Limited run.

Compiled by: Charles Bals & Henry Jones.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

Gary Burton ist nicht nur der große Vibraphon-Innovator seiner Ära, sondern auch ein äußerst scharfsinniger Talentscout. 1973 stellte The New Quartet Abraham Laboriel vor: Dies war die erste Aufnahme des
Bassisten, der bald zu einem der gefragtesten Session-Spieler in allen Genres werden sollte. ”Es muss betont werden, dass Laboriel mit seiner erstaunlichen Bassarbeit wie ein zukünftiger großer Künstler klingt”, schrieb das britische Magazin Melody Maker seinerzeit. Auch Gitarrist Mick Goodrick entpuppte sich mit diesem Album als ein Musiker, den man im Auge behalten sollte. Er glänzte in einem wohl durchdachten Programm mit Kompositionen von Keith Jarrett, Chick Corea, Carla Bley, Mike Gibbs und Bandleader Burton.