Review: The Darling Buds were an alternative rock band from Newport, Wales. They formed in 1986, were named after the H. E. Bates novel The Darling Buds of May and Erotica is their third and final album, released a few weeks before Madonna's album of the same name in October 1992. The album contained the US single, 'Long Day In The Universe', which was featured on the soundtrack for the Mike Myers film, So I Married an Axe Murderer. Erotica is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl and includes an insert.
Review: Predating Herbie Hancock's landmark electro experiment 'Rockit' by two years, this 1981 album from the legendary Miles Davis may reference his his 1952 10" LP Young Man With A Horn in its title, but there's nothing traditional or retro about its sound. Having been tempted out of a six year hiatus by his nephew Vince Wilburn, Miles incoporated brand new synth and programming technology into his sound and elements of funk, soul and fusion jazz into the finished article, which features both tracks with Wilburn's band and others featuring saxophone player Bill Evans, bassist Marcus Miller and drummer Al Foster. It's not your average Miles album by a long chalk, but quite a fascinating insight into how the legend refeused to rest on his creative laurels all the same.
Review: 1977's Quiet Nights is one of legendary American jazz figure Mile Davis' lesser known albums. It's not Bitches Brew or Kind of Blue, but it is a delightfully easy to listen work, with references taken from Brazilian folk on 'Prenda Minha' which actually gets renamed 'Song #2' here, or Spanish classical on 'Adelita' which was written by the pioneering Francisco Tarrega and is here called 'Song #1' .There are also some woozy ballads and standout big band jam 'Summer Night.' This reissue comes on heavyweight vinyl and is a great reminder of the range of the influential jazz legend.
Review: In a discography that is jam packed with high quality albums, Miles Davis's Sorcerer is one of the standouts. Now newly reissued by Music on Vinyl, it transports listeners into the heart of 1967's avant-garde jazz landscape when it was originally released as part of Davis's Second Great Quintet era. The music showcases the maestro's pioneering fusion of modal jazz and free improvisation from the enigmatic title track to the haunting Prince of Darkness. Davis and his ensemble craft a sonic tapestry that mesmerises with every note here and Wayne Shorter's evocative saxophone, Herbie Hancock's masterful piano, and Tony Williams's dynamic drumming all help make that so.
Review: Miles Davis' The Bootleg Series, Volume 1: Live in Europe 1967 is a monumental release, capturing the essence of one of jazz's most legendary ensembles. This 5xLP box set from Columbia/Legacy, featuring 180-gram audiophile vinyl, showcases previously unreleased live performances by Davis' second great quintetiWayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. The set documents five concerts from October and November 1967, a transitional period in Davis' career. While this quintet never achieved the pop-cultural impact of Davis' earlier or later groups, their work during this era remains highly influential. The recordings reveal a band pushing the boundaries of bebop with exhilarating spontaneity and creativity. Tony Williams' dynamic drumming is particularly noteworthy, adding intense energy to tracks like 'Footprints,' while Hancock's innovative piano work and Shorter's probing saxophone contribute to the band's distinctive sound. Live in Europe 1967 represents a crucial moment before the group's shift to electric jazz, epitomising the quintet's mastery of live improvisation and interaction.
There Is No Greater Love/Go-Go (Theme & Announcement) (8:41)
Review: Recorded at the same February 12, 1964 New York concert as My Funny Valentine, Four & More showcases the Miles Davis Quintet at their fiery best. The group, barely a year old at the time, pushed tempos from breakneck to blistering. The album features a balanced yet reconfigured set, including hard-bop staples like "Four" and "Walkin'," free-bop originals such as "Joshua" and "Seven Steps to Heaven," and the rarely performed standard "There Is No Greater Love." Spurred by Herbie Hancock, Ron Carter, and the prodigious 18-year-old drummer Tony Williams, Davis' upper-register playing is commanding and George Coleman's saxophone work is exceptional throughout.
Spoken Introductions (LP1 - By Duke Ellington & Gerry Mulligan) (1:23)
Hackensack (7:51)
'Round Midnight (6:12)
Now's The Time (8:55)
Spoken Introduvtion (By Willis Conover) (2:09)
Ah-Leu-Cha (5:50)
Straight, No Chaser (LP2) (8:42)
Fran-Dance (7:06)
Two Bass Hit (4:09)
Bye Bye Blackbird (8:07)
The Theme (3:43)
Gingerbread Boy (LP3) (8:28)
All Blues (10:20)
Stella By Starlight (2:02)
RJ Girl (5:48)
Seven Steps To Heaven (6:15)
The Theme/Closing Announcement (By Leonard feather) (6:59)
Spoken Introductions (LP4 - By Del Shields) (0:32)
Gingerbread Boy (5:32)
Footprints (11:06)
'Round Midnight (6:39)
So What (6:23)
The Theme/Closing Announcement (By Del Shields) (2:09)
Miles Runs The Voodoo Down (LP5) (10:35)
Sanctuary (3:35)
It's About That Time/The Theme (9:37)
Spoken Introduction (By Ronnie Scott/Band Warming Up) (0:37)
Turnaroundphrase (12:15)
Tune In (2:51)
Ife (LP6) (12:00)
Untitled Original (13:30)
Tune In 5/Closing Announcement (By Ronnie Scott) (13:01)
Directions (LP7) (20:43)
What I Say (3:01)
Sanctuary (2:40)
It's About That Time (14:32)
Bitches Brew (LP8) (12:02)
Funky Tonk (8:19)
Sanctuary (18:38)
Review: The Moon and the Melodies, a collaboration between Cocteau Twins and ambient pioneer Harold Budd, stands as a unique gem in both artists' discographies. Originally released in 1986, this ethereal album is now being reissued on vinyl, remastered from the original tapes by Robin Guthrie. Unlike anything else the Cocteau Twins ever produced, this record blends their dreamlike soundscapes with Budd's serene, improvisational piano work. The result is an atmospheric journey, at once intimate and expansive. Tracks like 'Sea, Swallow Me' shine with Elizabeth Fraser's otherworldly vocals, intertwined with Guthrie's shimmering guitar and Raymonde's grounding bass, creating a sound that feels both familiar and entirely unique. Instrumentals like 'Memory Gongs' and 'The Ghost Has No Home' highlight Budd's delicate piano, enhanced by the band's signature ambient textures. The album is a study in contrasts, vocal tracks sit alongside instrumentals, each contributing to a cohesive yet diverse listening experience. For fans, this reissue is a chance to revisit a pivotal moment in the evolution of dream pop and ambient music. The album's enduring appeal is evident in its continued influence in social media. The Moon and the Melodies remains a shining light that can happen when artists from different realms come together to create something truly timeless.
Review: Star People by the legendary Miles Davis stands as a distinctive piece in his extensive discography, marking both beginnings and endings in his career. Notably, it introduces electric guitarist John Scofield, who was recommended by saxophonist Bill Evans, and features bassist Marcus Miller on several tracks. The album also signifies the final collaboration between Davis and longtime producer Teo Macero, as well as his last work with the renowned Gil Evans. This album showcases Davis's innovative spirit, particularly on the 18-minute title track, where he plays trumpet and Oberheim synthesiser simultaneously, creating an expansive blues composition without overdubs. The rhythm section, featuring guitarist Mike Stern, drummer Al Foster and percussionist Mino Cinelu, complements Davis's explorations with a dynamic groove. Star People also features live recordings like 'Come Get It' and 'Speak,' highlighting the energy of Davis's performances while pushing the boundaries of the LP format. The album's front cover, adorned with Miles's own artwork, and liner notes by jazz critic Leonard Feather, add depth to this unique release, and for fans of Davis's work from this era, Star People is a compelling listen with the innovative appeal of his late-career experiments.
Review: It could have all been so different when Death In Vegas first formed. Richard Fearless and Steve Hellier spawned the project in 1994 and got signed under the name Dead Elvis, but legal wrangling got in the way and they used the name for their debut album instead. Now Music On Vinyl have repressed the 1997 classic so we can revel in the grizzled take on big beat and trip hop the pair cooked up. It's very much of its time, but there's a snarl to the production which sets Death In Vegas apart from their peers at the time, opting for the dive bar ambience over the festival main stage you'd hear when playing The Chemical Brothers or Leftfield. For that reason Dead Elvis has aged very well indeed.
Review: It's not without good reason four tracks from this unforgettable third album made it onto TV ads and movie soundtracks. Everything about the record is huge and absolutely impossible to ignore. There's the drawled Mancuian indie Britishness of its title track, with Oasis man Liam Gallagher giving it his typical all on lyrical duties. The lo-fi, almost nursery rhyme psychedelics of '23 Lies'. And the strange, alien-like bleeps and warbles of 'Natja'.
This is before we mention the parts with Dot Allison, Hope Sandoval, Nicola Kuperus and Paul Weller. As per usual, Richard Fearless' electronica project - which claims at least another 11 names in its part time members list - is as fearless as it is majestic. Taking us to the soaring heights of string-filled 'Help Youself', before hitting us with the wall of sound alternative rock and rave synths of 'Leather'.
La Lune Se Bat Avec Les Etoiles (Transition 2) (2:29)
Forest Power (3:50)
Media Luna (4:33)
Review: Deep Forest's third studio album, Comparsa, released in December 1997, presents a vibrant blend of world music and electronic elements, with a strong emphasis on Latin and Caribbean rhythms. Now available on translucent green vinyl, this album showcases the group's signature fusion of global sounds, featuring contributions from musicians across Cuba, Belize, Mexico, and Madagascar. Comparsa's 13 tracks are a journey through diverse musical landscapes, with highlights like 'Noonday Sun' and 'Tres Marias' highlight the album's dynamic energy. The group's founders, Eric Mouquet and Michel Sanchez, craft lush soundscapes that are rich in texture, combining whispered vocals with rhythmic beats and vibrant instrumentation. Tracks like 'Madazulu' and 'Radio Belize' illustrate the duo's skill in blending traditional sounds with modern electronic production, creating a sound that is both innovative and accessible. Comparsa remains a well-produced and exhilarating listening experience, perfect for those seeking a musical escape to far-off lands. Now on translucent green vinyl, the album's rich textures and global rhythms are given new life, making it a noteworthy addition to any collection.
Review: Desmond Dekker recorded some of his best known songs together with his backing group the Aces. Their single '007 (Shanty Town)' made him Jamaican music's first outernational superstar, reaching the 14th place in the UK charts. The Leslie Kong-produced Double Dekker was first issued in 1973 and consists of the best material Desmond recorded during his early years. In 1969 he scored a number-one hit with the legendary song Israelites. You'll hear how the Ska music from the mid-60s developed to the Rocksteady sound. This was 'Ska' or 'Blue Beat' - (or its new name for the slower tempo rocksteady) - and the lyrics come from the Calypso-Mento method of telling about current events in music. He was really at his prime from 1969 to 1971 and recorded classics such as 'It Mek' (1969) and 'You Can Get It If You Really Want' (1970), which you'll both find on this record. Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name.
Review: Shanty Town was the debut album by the legends in the making of the reggae world that are Desmond Dekker and his Aces aka Wilson James and Easton Barrington Howard. It of course induces the title track which was the first to make them stars on the international stage and even managed to hit the heady heights of #14 on the UK charts. It's an album that shows how ska from the mid-60s had an influence on the rocksteady sound and as well as the 'Spanky Town' classic you'll hear gems like 'Israelites' from 1968 and 'It Miek' from 1969.
Get Up, Get On It (feat MellowMan Ace, Rude, Sen Dog)
Western Ways (La Seleccion) (part II)
Review: A standout album fusing Latin and hip-hop influences released in 1998, Here Comes The Horns sees the Norwalk, California crew seamlessly blend bilingual lyrics, smooth beats and a vibrant mariachi-inspired sound. Tracks like 'This Is L.A.' and the title number highlight the trio's lyrical prowess and their knack for crafting infectious rhythms. Bold horn sections and undeniable West Coast vibe add further depth and character, creating a sonic experience that's both nostalgic and refreshingly original.
Review: Krush's eighth - and last - album Jaku is up there with Endtroducing and Donuts in terms of seminal, influential and forward-thinking beat longer players. 10 years since its release and it still sounds as timeless, unique and exciting as it did in 2004. The slick licks of a young Mr Lif on "Nosferatu", the post-apocalyptic tension of "Univearth" the sludgy, swampy cosmic hip-hop of the Aesop Rock-featured "Kill Switch" and the unashamed sax sex of "Slit Of Cloud"..... Do we need to go on? Limited edition, 180g transparent vinyl; even if you already have this in your collection this is a very, very appealing investment.
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