Buscar:troubadours

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

Pure Donzin is the debut solo offering by Amsterdam - based Donald “Donny” Madjid - also known for his involvement in The Mauskovic Dance Band. On a pandemic - induced break from his usually busy tour ing schedule, Donny, armed with a 60’s drum machine and a few synths, made the most of his time off by experimenting with, and home - recording new sounds - resulting in a fully - fledged 9 - track album under the artist monicker Don Melody Club.

Whilst many of his local peers tend to turn to sounds further from home for inspiration, Madjid felt drawn to honour the literary and musical tradition of The Netherlands, following in the footsteps of classic and lesser known Dutch troubadours such as Ramses Shaffy (a cover of ‘Laat Me’ features on the album) and Ronald Langestraat. Don drew inspiration from bard - like storytelling and for the first time started writing in his native tongue, craftily forging lyrics that his rich tenor voice delivers with a sincerity that translates regardless of whether or not you understand Dutch. This intimacy is balanced evenly with synth and drum machine grooves, recalling Dutch New Wave legends Doe Maar - merging ear worm pop hooks and infectious danceable beats to these otherwise pe nsive ballads.

An ode to being immersed in the magic of the night in good company, an experience so lacking during the year in which the album was recorded, is the danceable Psychonauten. The track is a fine example of the glittering synthesis of infectio us musical atmosphere and lyrically rich straightforwardness Donny has mastered on the album.

The influence of The Mauskovic Dance Band, especially the bass driven, hypnotic groove - a signature sound Don guides in new directions - can be detected on Ver anderd. Somewhat of an anthem, it is laced with tones of 70’s West - African sounds, like fast percussive key arrangements and energetic backing vocals. An example of a more laid back tune on the record is Isabel, a cool nostalgic love song, a soother for a sentimental occasion.

Opening number Geen Nood (No Panic), lyrically nothing short of a ‘sign of the times’ track, paints a mindful setting of cycling past the Amsterdam canals, seeing the leaves in the water, and feeling your blood flow peacefully throu gh your veins - letting go of the need to be anywhere other than where you are. Be it through meditative observances, or hypnotic dance grooves, Pure Donzin is a record that tempts the listener to become just that: immersed in the moment.

Songwriter and fingerstyle guitarist, Jason McNiff releases his 7th full length album, Dust Of Yesterday, on April 16th. Produced and engineered by Roger Askew (Joe Strummer, Wilko Johnson, Christy Moore) the album was recorded throughout the summer and autumn of 2020 in Roger's home studio in Eastbourne, UK. It features McNiff's signature acoustic guitar work throughout with significant contributions from Beth Porter (of Eliza Carthy's band) on cello and Basia Bartz (most London based folk bands) on violin. 
 
His first album since leaving London - McNiff is now based in Hastings - Dust of Yesterday is an elegy on moving away from a beloved place and a lament for lost youth. We are treated to a musical tour of McNiff's life to date, from his 8-year residency as a Flamenco guitarist in a Spanish bar in Waterloo (Damaged Woman) to hopping the northbound train from King's Cross, hiding in the lavatory up to Nottingham (A Load Along). All the songs on Dust of Yesterday, in one way or another, speak of the past. But it is not bleary-eyed nostalgia. 

"I read somewhere that it is possible to literally change the past and I became very interested in this idea. It so happened around the same time that I discovered the Greek/Egyptian poet, Cavafy. In his poems he would talk about the past, but the memory is not a thing of the past, but something that is still part of him in the present. I could relate to that. "

Musically, Jason is influenced by the British acoustic guitarists (Jansch, Graham, Wizz Jones) and the great folk/rock troubadours of the 60s and 70s. He loves Mark Knopfler in the early days; the English teacher turned reluctant rock star, singing about Leeds and Newcastle and sounding like JJ Cale. For McNiff, the lyrics are central, and he has been especially captivated by those considered poets and writers as well as musicians. He loves literature and cites Hemingway, Chekhov and the aforementioned Cavafy, as major influences in his work. ( He has 'translated' Hemingway's 'For Whom the Bell Tolls' into a song on a previous album, 'Nobody's Son')
 
 
Jason McNiff was born in Bradford, Yorkshire in 1974 to an Irish father and Polish mother. Academically gifted, he did well at school and went to the University of Nottingham to study French and Russian. He fell in with the Folk & Blues scene in that city before moving to London in the mid-nineties to do another degree in English Lit. He was just in time to catch the Bert Jansch residency at the 12 Bar club. For 6 months, every Wednesday night, McNiff would be in the front row of Soho's tiny club learning fingerstyle from the master. He would later sign his first record deal with Snowstorm Records, a label run by Bert's brother-in-law and found himself opening for Bert on numerous occasions. 
There followed a string of albums on various labels, including 2003's Nobody's Son (Americana UK album of the year) and 2011's April Cruel (nominated for best alt-country album at the Independent Music Awards in the US.)

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.