Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.
Review: Discodelic comes correct again with a new 7" that features a pair of rather lesser-known and brilliantly obscure Latin psych-rock gems. Conjunto Raza' 'African Dream' is all crackly and immediately nostalgic because of it, with noodle acoustic guitar sounds making way for a more upbeat and driving 60s garage rock sound but all in loveable lo-fi. Add in a red-hot vocal and you have a flame cut full of funk. On the reverse, The Scepters 'Message' is another well-aged jam that brings rawness and emotion in equal measure.
Review: The Scepters, formed in 1967 in Paraiso by guitarist Celso Spencer, were a popular Panamanian band known for their energetic performances across military bases and high school dances in the Canal Zone. Alongside Lionel Best and Jose James, they covered Top 40 hits and iconic rock bands like Santana and Jimi Hendrix. They released two 45s, including 'Message,' which debuted at Panama's first National Soul Music Festival in 1971 and features next here to a jam from Conjunto Raza, another project led by Agustin Leiro, this one with rotating musicians. They released a single 45 on Onda Nueva in the mid-70s and it blends Zonian and Panamanian talent with aplomb.
Julie Driscoll, Brian Auger & The Trinity - "Jeannine" (2:12)
Brian Auger & The Trinity - "In & Out" (2:59)
Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.
Review: This is one of those man-old 45rpms that can still command eye wateringly high prices on second-hand sales markets. It was a real favourite of the rare soul scene thanks to be popularised by Mark "Butch" Dobson at the start of his DJ adventures. It has remained true illusive over the years but this reissue from Soul Direction Origins changes all that. On the a-side is Hank Hodge & The J Notes Band's 'Eye for An Eye' which is an upbeat soul burner with big horn arrangements and plenty of interaction between the male lead and female chorus on the backing. On the flipside is 'Since You Said Goodbye', a slow-burning and heart-melting sentimental soul lament.
Review: Soul Of Anbessa has got a very special release on their hands here with the words of French poet Charles Baudelaire's "Chant d'automne" delivered in buttery style by Max Livio's voice. It sits atop a rockers' rhythm that will remind you of Channel One sounds and takes you on a lazy jaunt through a hot and steamy day in downtown Kingston with plenty of standout horns. On the flip The 18th Parallel steps up with 'Flowers Of Evil Dub' which has extra heavy dub vibes as mixed by Roberto Sanchez.
Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.
Review: Soul Direction's 19th outing might be their best to date. It is some top work from The Natural Soul Brothers Ltd that was originally recorded in Philly for the Wally-O Production stable back in 1970. It never got released after originally being laid down back then and that's a shame because it has plenty of great talent on display. The soul grooves are defined by a haunting sound and lingering vocals that make for a mellow but involving track. On the flip, there is more rambunctious energy, prickly drum rhythms and free-form guitar riffs next to a big vocal.
Review: Tower Vinyl is very quickly becoming one of our favourite labels. its current run of releases is absolutely top notch and focuses on vintage soul sounds from across a wide spectrum. This latest 7" as part of the Free Soul series comes from Odessey whose 'Battened Ships' has big brass, funky drums and lots of killer guitar lines and rich bass, all topped with heartfelt vocals. The wonderful Terry Callier and is unique ones then bring jazz and soul stylings to the bouncy 'Ordinary Joe' on the flip.
Review: From the grave, Prince is serving up a banger just in time for Christmas fun this year in the form of a one-sided 12" on Warner. It found him working with his trusty New Power Generation and features the 'damn near 10 min' mix of the song 'Gett Off' which is sure to fire up any dancefloor. It was originally a single - also served up as a one-sider - to promote Prince's new band with a cover that boldly declared that "Nothing can stop Prince and the New Power Generation" and was only issued on 1500 copies, so this is a great treat for fans to own all these years later.
What The World Needs Now Is Love (Silent Dream version) (4:32)
Review: Reggae Disco Rockers are Japan's leading reggae and lover's rock band. They have been active since they dropped their first ever single way back in 1996 and since then they have put a steady stream of sounds including six full albums and many more singles. This one is a cover of an absolute soul classic. 'What The World Needs Now Is Love' here becomes a slow, weighty dub with splashy cymbals, nice incidental melodies and a re-sung vocal that conveys the same emotions. Flip it over for a more steamy, sax-laced Silent Dream version.
Tomoko Kina - "Tie Island" (No Man's Island mix) (5:08)
Review: Japan's Fourth Wave Record Factory sure does know how to serve up brilliantly beguiling sounds that ate you well out of your here and now. Next up is this, 'Dondon Bushi' 7" by Shoukichi Kina, Champloo and Tomoko Kina that explores a mix of Okinawan traditional sounds and modern grooves. The Mbira dance mix of the A-side jam is a bubbly rhythm with worldly percussion and soulful melodies that echo folk majesty and are topped with a wonderful weird vocal from Shoukichi Kina. On the flip, there is a more lazy and downtempo style dub rhythm, 'Tie Island' (No Man's Island mix) which is another worldly trip.
Review: German label Oonops Drops is ever more essential if you ask us and tidy 7"s like this prove why (as does their mission to focus is on "sustainability, climate protection and socio-cultural values".) 'Bird's Lament' is a top tier tune from Slick Walk x Sneaky with live drum breaks and serene strings making for a reflective late night vibe. On the flip of this limited edition and clear slice of wax is Avantgarde Vak with the sweet hip hop sounds of 'Keep Ya Eyes Up' then Toshiyuki Sasaki with his sublime 'Toshi's Bonus Breaks.'
The Outer Worlds Jazz Ensemble - "Beg, Borrow, Play" (feat Chip Wickham)
Review: The Sorcerers usher in something of a new era here with Exit Athens, which is a further investigation of the worlds of Ethio-jazz and library music from the 60s and 70s. Now the group consists of Joost Hendrickx who has made his mark with the likes of Kefaya, Shatner's Bassoon and Abstract Orchestra, as well as Richard Ormrod on saxes, keys and flutes and ATA label head and bassist Neil Innes. The rhythms here are driving and funky with exotic percussion and plenty of vintage keys as well as great combinations of horns, flutes and vibes. It's a maximal sound but one drenched in soul and which immediately transports you to another world.
Review: The product of three "blissfully chilled" days spent in Toronto's Studio Z, Bluish Green is the debut release from sibling trio T3AL (AKA the Ball sisters and producer brother N_Sound). It was reportedly created 'almost entirely live in the studio' with little prior conversation or stated direction. Given this context, it's an undeniably impressive affair - a hugely evocative, atmospheric, and intoxicating affair that variously fuses elements of trip-hop, neo-soul, ambient, the pastoral sounds of neo-folk, and the gently sun-baked headiness of the best Balearica. At its best - such as on the Sade-meets-Mood Hut haziness of 'Weightless', the pleasingly dubby and spaced-out 'Flip That Switch' and the impeccably immersive 'R U 4 Real' - Bluish Green is spectacular - and there are very few debuts you can say that about.
Review: The late Edgar Froese-fronted German band Tangerine Dream are cult heroes to those of us who enjoy proto-electronic sounds. From kosmisch to prog, new age to kraut, they did it all and then some and were still going by 2011 when they released Mona Da Vinci. The album showcases the band's signature mystical soundscapes and was created by Froese before his passing with a mix of ambient, electronic and cinematic elements and plenty of his pioneering synth work. The album remains a standout in the band's vast catalogue and has been remastered for this release so its ethereal textures and evocative melodies sound superb and stand as a testament to Froese's enduring influence.
Review: TC.KYLIE x The Hourglass deliver a dynamic jazz fusion outing here that mixes up Hong Kong, Japanese, and British cultures in a top debut album. Jazz fusion pianist Kylie leads her band with great energy while playing keyboard and synth keytar that is a little reminiscent of Japanese jazz rock. Based in Hong Kong and London, she's inspired by Shaun Martin, Robert Glasper and Japanese acid jazz groups like Fox Capture Plan and Jabberloop and that shows in these sounds. They are bright, happy and uplifting with the majestic flute leads of 'Merry-go-round Of Life ' impossible not to fill you with excitement and joy.
Review: This fine new double-sided soul release from Soul4Real features two legendary producers and one legendary singer. When Dionne Warwick joined Warner Brothers in 1972 it brought an end to her work with Bacharach and David and saw her hook up with new soul producers of the era such as Holland/Dozier/Holland, Jerry Ragovoy and Thom Bell. The ensuing collabs are some of the best in her career and include two incredible mid-70s tracks that feature here. This essential 45 was unheard for almost 40 years but then made it to CD in 2003 and now vinyl. Essential stuff.
Review: Tokyo-based post/math-rock noodlers Toe have a habit of cleansing the palette of each subsequent full-length they release with a follow up EP. Just like 2005's debut album The Book About My Idle Plot On A Vague Anxiety was followed up with 2006's New Sentimentality EP, the group would return three years on from their stellar 2009 sophomore effort For Long Tomorrow with 2012's The Future Is Now. From the twinkling emo-inflected shoegazing noodles of 'Run For Word' to the more acoustic-driven psych-jazz of 'Ordinary Days', the four cuts purposefully meander and fuse differing elements from the band's arsenal whilst somehow increasing the dense technicality to absurd, near impenetrable levels.
Review: Owhaaou features four cuts taken from the incredibly hard-to-find and obscure Metamorphose album that was released back in 1984 by this legendary Benin soul star. He blends rare Afrofunk with digital soul as evidenced by the recent reissue of Dans le Tchink System. Now this label celebrates his work once more with this futuristic and expansive new record which was recorded on 24 analogue track channels with skilled backing musicians such as Hilaire Penda on bass, Poly Rythmo de Cotonou's Daniel Bentho and more. The title track is a big disco party starter then there are more sombre moods on 'Magnifiec' and a silky edit of 'Zemidjan' before 'Mi Tchinker' gets that booty shaking.
Kimi No Tamenara Shineru Kanzenban (Super Zunzun mix) (2:51)
Review: Originally released in 2004 to a hot reception, this iconic soundtrack from the beloved Sega game Feel the Magic XY/XX features Tokoi's unforgettable blend of eclectic, funky and also smartly experimental compositions. The music complements the game's quirky, surreal themes with catchy rhythms and vibrant colours. This anniversary edition offers remastered tracks with enhanced sound quality so is a guaranteed nostalgic journey for longtime fans or a superb introduction to the brilliance of Tokoi's work for new ears.
Review: A fusion of sounds that come together to create this inimitable whole, Toyland marched out of the Australian rock & roll underground carrying totems by the pole-load. Post-punk, New Wave, pop, dub, Afro, ska - elements of multiple styles and genres are more than audible throughout, with Nicholas Hope, Analisa and Michael Hope doing their best to distill an entire era into a single four-tracker. Created amid a cultural explosion in Adelaide during the 1980s, although the city isn't the first on people's lips when thinking about the incredible music that came out during that decade, here's proof a celebration of eclecticism and a desire to rethink the rules of popular music was happening in those heady days, just as much as anywhere else in the Western world at that time.
Review: A collaborative EP between 2 Australian rock giants, this limited one-sided collectors disc comprises the 19 minutes long 'Satanic Slumber Party' split into three sections. 'The Chairman's Portrait' intro is a dark, heavily distorted spoken-word piece backed by dark rumbling guitars that explodes into the head-banging electronic banger 'Midnight in Sodom'. The angry lyrics are paired with awesome melodic guitar solos and chiptune noises, before shifting into noise rock territory. 'Hoof and Horn' takes up most of the runtime at a hefty 12 minutes, in which ambient drone begets experimental sound effects that are reminiscent of the liquid bass and synths favoured by producer SOPHIE. The track evolves into a demonic lullaby that wouldn't feel out of place in an episode of American Horror Story, and fans of 2 Mello's 'Atmospheric Horror Music Vol.1' will greatly appreciate this track. The EP is all-in-all a camp experience. An Avante-Garde, quintessentially fun blend of two incredible groups.
The Great Marmalade Mama In The Sky (Yage remix) (5:15)
Wooden Ship (Yage remix) (5:37)
Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.
Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.
Review: Handful of Soul was a successful album that sold over 300,000 copies when first released back in 2006. Now reissued by Schema Records in a special edition double vinyl set on blue transparent wax, it reminds us of Mario Biondi's remarkable voice. Hailing from Catania, Sicily, it resonates with soul and rhythm & blues influences and contemporaries like Gregory Porter. The record traverses jazz and soul, offering captivating vocal melodies and dance-worthy rhythms and is supported by trumpeter Fabrizio Bosso and his High Five Quintet who showcase an exceptional interplay among top Italian jazz musicians and deliver instinctive jazz performances.
Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.
The Master Scratch Band - "Breakwar" (The First version) (2:29)
The Master Scratch Band - "Jailbreak" (The First version) (2:44)
The Master Scratch Band - "Computer Break" (The First version) (2:54)
The Master Scratch Band - "Mad Scratch" (2:47)
Review: Yugoslavia went through unthinkable turmoil during the break up of the Soviet Union, which is why it is all the more astounding even all these years on that it had quite such a fertile and innovative music scene. In 1984, Zoran Jevtic and Zoran Vracevic were a key part of it and helped revolutionise the sound of the day by introducing synth-pop, breakbeat and hip-hop with their Data and The Master Scratch Band projects. Their releases paved the way for modern electronic sounds and this album dives deep into that era and compiles their earliest unreleased works from between 1981 and 1983. It's a daring exploration of genres including industrial, EBM, minimal synth and electro-funk. It adds up to a true digger's gem that will significantly elevate your vinyl-hunting credentials without having to do the hard work yourself.
Review: TrioRox is a new project uniting three prominent Italian music figures namely pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca aka Luca Roccatagliati. Guidi, a jazz piano prodigy, has recorded for ECM and collaborated with Enrico Rava and Ricardo Villalobos before now while Rehmer, an American bass player based in Italy, has worked with jazz greats like Bob Mintzer. Here they combine their skills with Rocca on a record that is a mix of electronic, dance, jazz and pop styles, all with some sleek underlying grooves and hints of electro, classical and minimalism that add up to a real melting pot.
Review: Field Music unveils 'Binding Time' for this year's Record Store Day and it is a poignant suite of songs inspired by the Durham Miners' Association's formation, all performed alongside members of the NASUWT Riverside band. The album was first commissioned for the Durham Brass Festival and slated for Redhills' DMA performance in July 2021, but sadly Covid restrictions postponed the event until its debut at Durham's Gala Theatre in 2022. Peter and David, the duo behind Field Music, meticulously researched the region's mining history and weave in personal narratives with historical facts. The album delves into miners' struggles, blacklisting, and societal impacts, completing a trilogy of socio-historical albums following 2015's Music for Drifters and 2021's Making a New World.
Review: 17 albums deep and Lee Fields still has something to say. Arm in arm with longstanding band The Expressions, the troupe dig deep an impeccable roll of soul: The soft harmonies and yearning horns of "I'm Coming Home", the light electronic elements on the rhythm of the hazy, laidback torch song "Never Be Another You", the swooning blues of "Let Him In", the almost highlife sparkle to the guitars on "Where Is The Love"... Each of the ten tracks hits with a freshness, energy and realness that few - if any - 70s troubled troubadours could muster. Essential.
Review: Last October, acclaimed saxophonist Pharoah Sanders turned 80 years young, and his input on this album is testimony to the fact he has clearly aged like a fine wine. Not that this is to suggest preceding outings were anything less worthy than this collaborative project, which sees Sam Shepherd, the British electronic artist better known to most as Floating Points, write nine spectacular arrangements which are then performed by said brass legend, alongside The London Symphony Orchestra.
The results are spectacular, and wildly far-reaching, albeit firmly rooted in jazz with classical undertones. From the movements that made this final cut, some are whisper quiet and delicate to the point of risking breaking off if you were handling haphazardly. Others are booming loud, musical jumbo jets landing at the end of another great crescendo. Whether hushed or monumental, though, we can feel every note and bar of this masterpiece.
Review: Talk about a cultural Tardis, Doctor Who ranks among the most longstanding love affairs British TV viewers have ever had with a work of science fiction, ranking up there with global phenomena such as Star Trek in terms of legions of faithful fans and decade-spanning sagas. After a small blip of obscurity in the mid-late-1990s and immediate post-millennium years, the show rebooted and reconfigured for the 21st Century in 2005, and hasn't left the common conscience since.
The score is certainly something to do with that resonance. As far as theme tunes go, Doctor Who's may not still be the most forward thinking (as it was back in 1963), but it's easily up there in the premier league of iconic. On this live rendition of music from the latter-day Series 1 & 2 that theme remains as impactful, while a talented entourage of players and conductors also help us remember just how consistent the music is overall.
Review: Fitz Gore was a Jamaican tenor saxophonist who helped the experimental group The Talismen in the mid-seventies. His debut album Theme This is a lost classic that is now getting reissued for the first time. It was originally put out via on Gore's GorBra label and is a sensitive, introspective collection of tracks with "Shepherd" Fitz Gore, Ulrich Kurth, Gerard Ebbo, Philippe Zobda-Quitman and Lamont Hampton making up the band. Next to the originals are covers of John Coltrane's 'Dahomey Dance' and Horace Silver classic 'Song For My Father.' This reissue includes a two-page insert.
If You Miss You Kiss You (feat Sa-Ra & Maurice II) (8:50)
Review: Shafiq Husayn has been a driving force on the Los Angeles music scene for decades. He is a producer, songwriter and vocalist who is part of the agenda setting trio Sa-Ra Creative Partners and has produced for greats like Erykah Badu, Robert Glasper, Ice-T, Bilal and Jurassic 5. The Grammy winner is also leader of the expansive The Dove Society collective with whom he links here for a new album So Gold. It's an eclectic, love-fulled fusion of jazz, cosmic soul, hip hop and r&b that is packed with lush musicianship, smooth vocal flows and timeless grooves.
Review: First things first - the cover art for this one is exceptional if you ask us and gets you very excited about what the album will hold once you drop the needle on the record. Good news - it's just as good, as Idris Ackamoor & The Pyramids return to form with a first new album in three years. This one is as epic they come, exploring all manner of jazz and Afro-future sounds with core Pyramids members Ackamoor on sax, keytar and organ joined by flutist Margaux Simmons, Sandra Poindexter on violin and Bobby Cobb on guitar. Tracks take in hard-hitting socio-political commentaries and laments for lost loved ones as well as some nice and hazy cosmic trips.
Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.
Review: Is there a more genuinely eclectic producer than Kalbata operating right now? We certainly can't think of one. Over the last decade and a half he's turned his hand to everything from dub, techno, dubstep and electro to Balearic beats, downtempo grooves and inspired musical fusions that simply cannot be categorized. His latest excursion - made in cahoots with five-piece Israeli band Tigris -falls into the latter category, offering up a brilliant blend of African and Caribbean rhythms, Turkish psych-funk organ solos, off-kilter electronics, wavy ambient chords and glistening guitars. It's hard to accurately describe but brilliantly produced and hugely entertaining. Don't sleep on this one!
Review: It's hard to side with anyone that goes in hard on enigmatic epic metallers King Gizzard & The Lizard Wizard. When a band releases 24 studio albums you know they're sure of themselves and cult followers are almost guaranteed to support every release. When those releases come with names like PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation you also know the band don't really care for people who take things too seriously. There's always been an interesting juxtaposition between the Gizzard's tongue in cheek persona - even the band name smacks of wry humour - and the music itself, though, and this outing is no different. Sprawling guitar-fuelled arrangements that owe as much to post punk as psychedelic and prog reign supreme, making for another powerhouse outing you can love or feel indifferent towards, but never legitimately hate.
Review: Kyoto Jazz Sextet are an acoustic jazz 'unit' established in 2015 fronted by Shuya Okino. After their first two albums 'Mission' and 'Unity' this new third album channels only the best of what Tokyo's jazz scene has to offer, illuminating both past and present musical narratives in Japan by enlisting both new artists and legends (Takeo Moryiama appears on drums) alike.
Review: Few sounds transcend time like Afrobeat, and few artists defined it as profoundly as Tony Allen who has long been the genre's legendary heartbeat. In 2011, Allen recorded a masterful rhythmic session for Comet Records' Afrobeat Makers Series where his drumming, unconstrained and deeply expressive, speaks a universal truth through its unique cadence. On this album, La BOA-La Bogota Orquesta Afrobeat-engages Allen's legacy in a remarkable dialogue led by Daniel Michel. The Colombian band blends Afrobeat's essence with their unique rhythms and merges Caribbean beats, Pacific grooves and Andean influences into a fittingly lively tribute and a seamless cultural exchange where Bogota meets Lagos.
Review: There is so much killer hip-hop out there right now it is a real delight. It is fair to say that much of it is of an old school bent - boom bap drums and silky soul flurries, but that doesn't make it any less essential. Coming back for a third album here is legendary beat maker and MC Large Pro aka The Large Professor. His highly anticipated long player is rich in signature sounds that can be sung to, danced to or skated to. All 10 cuts are gold standard bangers and take in highlights such as the young energy of 'Let It Fly' to the more sleazy ghetto sounds of 'Rooftop Love.'
Review: Jazz doesn't come much more wildy expressive, idiosyncratic, off the cuff, challenging and dense that this album from 1977. The Human Arts Ensemble came together in 1970 in St. Louis adn was a loose collective that associated themselves with the Association for the Advancement of Creative Musicians (AACM) and the Black Artists' Group (BAG) collective. They had no rues and no restrictions on who could play and it shows as different instrments shoulder their way to the front and vie for attention, from the drums to the keys, the sax to the double bass. This reissue features the original artwork as well as all new remastered audio and fresh liner notes by Howard Mandel that provide great context.
Review: Bob Marley & The Chineke! Orchestra marked the 60th anniversary of Jamaican Independence with a special concert that showcased Marley's most famous songs all recorded with new instrumentation and orchestration. Trevor Nelson presented the project and he tapped up Skip Marley, an inheritor of his family's famous musical legacy and who made his debut UK performance for this concert which was recorded for this album on Island Records. British singer-songwriter JP Cooper plus Jamaican born and Birmingham based soul, gospel and R&B legend Ruby Turner also featured.
Review: Zak Starkey - The Who's drummer and, as it happens, Ringo Starr's kid - joined ex-Kula Shaker bassist Alonza Bevan and The Smiths legend Johnny Marr for what was a kind of British indie supergroup of sorts, for a brief moment of glory. Boomslang remains the first and only album released by JM and the Healers, landing in 2003 to a rather mixed bag of reviews. Some lauded its musicality, others criticised the frontman's lack of bravery in refusing to move out of comfort zones. Listening back 21 years later, we're not sure what people were looking for and, to be honest, that kind of summarises the post-millennial era. We'd spent a lot and did a lot in the previous century, and it took some time to refocus on the blank page of the next 100 years. For us, Boomslang is a well balanced trip through a variety of very UK guitar sounds, from loose, druggy, vocally-effected bits to bewitchingly quiet folk-tinged stuff and rowdier, fight night scores. To clarify - that's all good.
Review: In October 1999, the Black Crowes joined Led Zeppelin's legendary guitarist Jimmy Page for shows in New York, Los Angeles, and Worcester, and that resulted in the live album Live at the Greek on TVT Records. Due to contractual issues with Columbia, however, the album didn't include any Crowes songs performed with Page. This collaboration led to a summer 2000 tour with Page and The Who and on July 10, 2000, they performed at Jones Beach Theatre in Wantagh, New York, and served up what was considered one of the tour's standout shows. Featuring sixteen Led Zeppelin classics, Black Crowes tracks, and blues covers, this FM broadcast recording is a real must for fans of these rock icons.
Review: In October 1999, the Black Crowes performed with Led Zeppelin's legendary guitarist Jimmy Page in New York, Los Angeles and Worcester, leading to the live album Live at the Greek on TVT Records. However, due to contractual issues with Columbia, the album omitted Crowes' songs performed with Page. This collaboration sparked a summer 2000 tour with Page and The Who, highlighted by a standout show on July 10, 2000, at Jones Beach Theatre in Wantagh, New York. Featuring sixteen Led Zeppelin classics, Black Crowes tracks, and blues covers, this FM broadcast recording is a must-have for fans of these rock legends.
Review: While Jimetta Rose composed the songs on How Good It Is, a collaboration with Los Angeles community gospel choir The Voices of Creation, during a period of personal hardship, even the album's most bittersweet moments feel hopeful and positive. As a result, the set's six tracks feel surprisingly joyous, with inspiring choral, solo and spoken word vocals rising above backing tracks that variously offer nods towards the Staple Singers, Funkadelic and Sly Stone. It's a genuinely timeless, life-affirming collection, with highlights including blindingly good opener 'Let The Sunshine In', the atmospheric, slow-motion shuffle of 'Operation Feed Yourself', the squelchy and suspenseful brilliance of 'Answer The Call' and the sweet release of original gospel compilation 'Ain't Life Grand'.
Review: US clarinet icon Tony Scott stayed for six years in Asia and during that time hooked up with plenty of talented local musicians and brought them into the jazz fold. Improvisation is a traditional part of the gamelan sound of the region and is drawn upon here as his outfit The Indonesian All Stars perform their never before heard ethno-jazz arrangements. They went on tour around Europe and opened the Berlin Jazz Days in 1967. The album has been remastered from original tapes here for a reissue which means you no longer have to pay the high prices this once rare album has fetched over the years.
Review: Woody Shaw was one of the more influential jazz musicians of his time. This album was recorded in 1985 and finds him in full flow with his Tone Jansa Quartet. The American jazz trumpeter, composer, arranger, and band leader very much shows off his improvisational skills on flugelhorn and trumpet while his sidemen Renato Chico on piano, Peter Herbert on bass, Dragan Gajic on drums and Tone Jansa on tenor sax do not disappoint either. This is the first time the album has been reissued since its original release and comes in limited quantities.
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