Friday, October 31, 2008

NEW ARRIVALS/RESTOCKS FOR FRIDAY, OCTOBER 31

NEW ARRIVALS AND RESTOCKS FRIDAY, OCTOBER 31


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hey hey! i know a good chunk of my local customers are heading down to the phillies victory parade today and/or psyching themselves up for election day next week. true, both are monumental and exciting events, but if you can find the time, come on by the shop and check out some this weeks new arrivals (and restocks… most of ‘em ‘out of print’ from their respective labels, but i work magic ‘round here)… the craig/oswald set on deutsche grammophon makes a repeat appearance this week in the top picks, this time it’s available on vinyl. it’s limited, so don’t snooze; one of better/funkier/rarer aec lp gets reissued again, this time on soul jazz; killer new bass heavy re-edit white label… little-to-no info other than its not to be missed!; other titles this week that are equally essential: Q65 reissue on the great mandrax label; new skullflower lp on not not fun; gayle mccormick reissue on revola!; new eleh lps on important, one a split with pauline oliveros!; ursula bogner compilation on jan jelinek's new faitiche imprint; a bunch of essential blues/related cds on the amazing yazoo label!!! (most in stock for the first time); and then there was the dance… a lot of minimal this week (?!)… many restocks of the shops favorite labels: millions of moments, mojuba, styrax, styrax leaves, present, etc… but also some killer new ones on ornament and phl’s own great circles and a couple more edit 12s from amplified orchestra and firecracker. cool stuff indeed… come on by and check em out!


gracias


anthony


as always, many of the titles are in very limited quantity, so if you're interested in anything listed below, feel free to call or email me, I will gladly hold items for up to a week.


prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.


i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. as with the international shipments, orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.


PICKS OF THE WEEK


CARL CRAIG/MORITZ VON OSWALD- RECOMPOSED 2LP (deutsche grammophon, germany)
39.98usd/24.18gbp/30.52eur/3937jpy (approx)


*now available as a double lp set, ricardo villalobos remix 12” coming soon… ReComposed is the result of a gradual process, even the 'Intro' was set down at the very first session -- in Detroit, Michigan, which is and has been the center of the development of Afro-American techno music for about 20 years. And it was about 20 years ago that the recordings by the Berlin Philharmonic Orchestra of the works, which the two artists have used for their project, were released for the first time on CD. Moritz von Oswald told me that the commissioning company wanted them to use an historic recording by the Berlin Philharmonic under Herbert von Karajan's baton, but that he expressed the wish to use unmixed multi-track recordings in order to better employ the various instruments. Sure enough, recordings (with 16 separate tracks) of this nature existed, among them precisely the three works that Moritz von Oswald and Carl Craig, whom Moritz spontaneously invited to work on the project with him, wanted to use: Maurice Ravel's 'Bolero' and 'Rapsodieespagnole,' and Modest Mussorgsky's 'Pictures at an Exhibition' in Ravel's orchestration. After a first meeting in Moritz's home town, Berlin, where they listened to the original Deutsche Grammophon recordings from 1985, 1986 and 1987, Moritz set to work on the pre-production of various bits and pieces they had chosen, isolating certain instruments or groups of instruments, separating them out from various microphone-tracks, and mixing them anew. Then he took everything to Carl Craig in Detroit where the two musicians (both highly acclaimed techno innovators ever since the birth of the genre) sat down with their instruments -first and foremost a synthesizer, then old, analogue but, (as Carl Craig told me)legendary drum machines, and traditional percussion such as woodblocks and chime bells, even a double-bass -- and improvised a prelude during which sounds and patterns were created, reminiscent of Brian Eno's collaboration 30 years ago with the German electronic duo Cluster, and which I should like to call Common or Garden Electronics (in contrast to cultivated Techno Soul) and which was in those days a minor German export hit following in the wake of Krautrock. Carl Craig had already had a great success in the early 1990s with a version of Manuel Göttsching's historic (if not epochal) post-Kraut/proto-house title E2E, which Moritz von Oswald and Mark Ernestus later remixed. (What a wonderful term -- Afro-Germanic -- which arose out of the afro-diasporic Underground Resistance-Zentralkomitee!) An everyday situation: one goes out of the house into the road and immediately recognizes a good friend approaching. My first thought is often to cross over the road, hopefully unnoticed, or even duck into a house entrance. And I had a similar feeling with the first appearance of the percussive, repetitive Bolero motif following the introduction. Here is the first clear indication that samples were used, and in this case precisely how the composer had intended, how he had meant them. (I had the same sort of feeling with the following track, where the trumpets are taken from Mussorgksy's Samuel Goldenberg and Schmuyle.) But I soon overcame my irritation and plunged happily into the hypnotic maelstrom of the slowly unfolding 'Movement 1.' It is certainly interesting that sampling often employs a blatant motif which is then worked on with imagination, and taken beyond recognition, which in turn often leads to something new (better, not merely borrowed). I asked Moritz if this was not rather similar to classical music, where leitmotifs are employed. He replied that that was the whole point of the exercise (creating by doing). The tonal leitmotif of the composition (except for a secondary motif on the harp) was dropped on account of it being too obvious (for fruitful re-use). The rhythmic patterns of 'Bolero' were another matter, however; for Moritz von Oswald, 'Bolero' is the very first classical composition with a rhythmic loop upon which a melody is built. Carl Craig also declared that this leitmotif was absolutely indispensable. Suddenly, the sound explodes way beyond that produced by a classical orchestra: subsonicbasses slide over the musical seabed. Movement 2: Enter the Goldenberg/Schmuyle trumpets, partly as on the historical original track, but also looped, tuned, pitched and layered. And quite clearly, for all to hear, layered on top of one another we have 'Bolero,' 'Rapsodieespagnole' and 'Pictures at an Exhibition.' The whole 'friendly takeover' of the originalBolero (particularly recognizable from the rhythmic snare patterns) now possesses a certain swiftness and is high-pitched, which leads Moritz von Oswald to conclude that the well-known, popular recordings of 'Bolero' have always been performed more slowly than the composer originally intended: this music really should have 128 beats per minute. Premiered in 1928, right in the middle of the Jazz Era and already influenced by jazz, it had a great influence on the further development of jazz and on such genial forerunners of the Third Stream as the young cornettist and pianist Bix Beiderbecke. (Frank Trumbauer turned in his seat, caught Bix's attention, and nodded at an expensively dressed, bearded man, obviously not an American, who had entered and was standing with a group of Victor officials listening to the music. 'Say, Bix, any idea who that is?' Trumbauer's smile betrayed immediately that he knew something Bix had better know too, and fast. 'Nope. Looks French to me.' 'Very astute, old boy. That's Maurice Ravel.' Ravel, whose music he all but worshipped. A key figure in the French Impressionist school, master orchestrator, harmonic innovator, composer of 'Ma Mèrel'Oye' and the 'Daphnis and Chloe' suites; this man's genius had produced the monumental orchestral setting of Mussorgsky's 'Pictures at an Exhibition.' 'Oh, my God,' said Bix. 'It really is.' 'Why don't you ask him for his autograph?' said Charlie Margulis, amused at his section mate's unconcealed awe. Bix shook his head. 'I couldn't. I mean, I wouldn't dare.' That evening, Bix, Roy Bargy and other Paul Whiteman sidemen went to hear Ravel conduct the New York Philharmonic, and later spotted the composer in a speakeasy. This time Bix was not too shy to try an approach, but advanced on his table with an almost fierce determination. 'Excuse me, sir. I'm Bix Beiderbecke. May I sit down?' Ravel, presumably too surprised to even think of a reason why not, indicated an empty chair. The two were soon engrossed in animated conversation, which began with Bix saying, quite audible several tables away, 'I love everything you've ever done.' It is not certain whether the two men saw one another again, though at least one account has Ravel visiting Bix's flat in 1931 to listen to play his own piano works. Movement 3begins with an elegant rhythm, pepped up with bright synthetic hi-hats, which is reminiscent of the Rhenish group Kraftwerk (the Afro-German heroes of Motor City), whirling trumpets join in (see Duke Ellington's 'Trumpets No End'), and then quite suddenly a sonorous bubbling sound rises up out of the musical depths and emerges on the sparkling surface -- rather like an echo of early acid house music (have you discovered the BASF-tape at the bottom right of the cover?) -- a very welcome sound for me, which is repeated several times in the next few minutes, starts to become dominant, even silencing the brass from Goldenberg and Schmuyle and -- at last -- allows the bass drum to enter. Question: where are the samples from Deutsche Grammophon? OK, there's a very soft, little woodwind motif, but the tribal slit gong is certainly not Ravel's. Nor is the fluffy orchestra from the Intro, which pops up again to prepare us for the seamless transition to track 5 of the album, 'Movement 4,' the powerful, down-to-earth club track, the single we all want to dance to. And it is not in the least strange but liberating that now, after the 25 well-thought-out minutes which have brought us here, that all references to classical music are done away with -- and we've landed in a club. I asked Carl Craig if that was planned right from the start, and he answered: It just happened. It's all very elegant now, the bubbling sound from of the depths return, something in the music definitely begins to jack, and the fleet-footed Kraftwerk-like sound is treated to a fairly drastic saw-toothed embellishment. Movement 4: to couple this out for a 12" vinyl LP would be logical. Perhaps, said Moritz, when I suggested this to him, and maybe with other remixes, which would carry on from this one (or lead elsewhere). I will definitely buy them, but then: I buy everything that Moritz von Oswald and Carl Craig have produced (and that is quite a lot) on their own labels (Basic Channel, with its various other sub-labels in Berlin, in partnership with Mark Ernestus, and Carl Craig's Planet-E in Detroit) and so I more or less have a whole series of their projects (mutual remixes) going back to 1993. Over the period of one year, Carl Craig and Moritz von Oswald visited one another in Berlin and Detroit, where they created loops and made improvisations on them (just as jazz musicians do, although Carl Craig prefers to talk of jamming and not jazz music; I don't quite agree, but then, I have always considered even his earliest, completely synthetic tracks, where he jams with himself, as jazz). They opted for certain takes, which they left unchanged, and from these, they developed and set down further tracks. If one listens carefully here, a huge arch emerges which is brought to a happy conclusion. An Interlude, filled with drones, clusters and other sonic effects, which produce a pleasant cloud of sound, prepares the way for the two last, very lengthy pieces, and it is interesting to learn that each of the final movements was mixed by just one man: Carl Craig is responsible for the opulent Movement 5, in which its classical origins are overwhelmed here and there by heroic-sounding, symphonic strikes, and one is transported to the parallel world of four-to-the-floor music; and (introduced by a cross fade) Moritz von Oswald puts his name to 'Movement 6,' which is more minimalistic, and more abstract despite prominent, almost waltz-like congas. That's quite right, said Carl, but unimportant -- it's still teamwork. --Thomas Meinecke, September 2008

ART ENSEMBLE OF CHICAGO- LES STANCES A SOPHIE LP (soul jazz, uk)
24.98usd/15.11gbp/19.07eur/2460jpy (approx)


*Soul Jazz Records are releasing for the first time-ever a long lost cult classic of French New Wave cinema on DVD (available next week, along with the cd version of this record). Les Stances a Sophie has been out of print for over 30 years and this is its first release ever outside of France. Filmed in Paris in 1970, this fully-subtitled film features killer music, groovy clothes and post-1968 revolutionary ideals. This super-rare film is now perhaps best known for its soundtrack from the legendary Art Ensemble of Chicago (who also feature in the film). To coincide with the release of the Les Stances a Sophie DVD, Soul Jazz are re-issuing the Art Ensemble of Chicago's Les Stances a Sophie as a one-off super-luxury U.S.- heavy card gatefold limited edition LP edition (strictly limited to 1000 copies). The album features the epic 'Theme de Yoyo,' the Art Ensemble of Chicago's finest ever moment featuring the soaring vocals of Fontella Bass and the super-heavy funk drums of then current newcomer to the Art Ensemble Don Moye. The Art Ensemble of Chicago were living in Europe in 1970 when the film was made along with a host of other US jazz émigrés such as Archie Shepp, Ornette Coleman and more.

UNKNOWN: BBQ/GENIE 12" (thriller, uk)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*The work of a group of well known South London producers with links to wonky hip-hop, dubstep and techno, Thriller is an anonymous imprint involved with low-end re-configurations of R&B, disco and hip-hop. All releases on the label will be made available in pressings of 300 copies for the world.

HARD ROCK AND PSYCHEDELIC


Q65- AFGHANISTAN LP (mandrax, italy)
33.98usd/20.55gbp/25.94eur/3346jpy (approx)


*Finally comes this long-awaited vinyl reissue, a classic never reish'd on vinyl before. 1971 album by Dutch legends delivering a powerful set of bluesy proto-hardrock somehow meant to be psychedelic, too, with the whole B-side being a live medley of classic rock n' roll. Reissued in a limited run of 400 copies, in gorgeous gatefold cover.

SKULLFLOWER- TASTE THE BLOOD OF THE DECEIVER LP (not not fun, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*i've only had the good/loud fortune to witness Matthew Bower perform live on a handful of occasions and the infinite incineration he managed to detonate out of a single electric guitar and knee-high practice amp was convincing enough to last several lives. In the meantime, there's the gallons of celestial skree he bombards the listening universe with via his cavalry of audio aliases (Skullflower, Total, Hototogisu, Sunroof!, Mirag), all of which radiates with Bower's iconic, influential, two-decades-deep quest to fuse the bruised with the blissed in a single white-light fist held up high. And although his specific mission for each project seems to have crossfaded a bit in recent years, it's still huge news to us to be able offer up Taste The Blood Of The Deceiver, the first full-length Skullflower album to be pressed on vinyl since forever (at least the early '90s). Taste The Blood Of The Deceiver finds Bower in the more blackened, doom-damaged terrains like those stripmined on the recent Desire For A Holy War or Pure Imperial Reform -- abrupt vertical baths of blinding distortion and harmonic override spiked with cavernous cultish riffs and deeply bleak ritual moods. The blood is fresh, but the body's unrecognizable. Charred and forgotten, this is another stepping stone on the path to the upturned altar. Black vinyl LPs in fucked-up-and-photocopied matte jackets. Edition of 500.

SOFT ROCK AND LIGHT PSYCHEDELIC HARMONY


GAYLE MCCORMICK- GAYLE MCCORMICK CD (revola, uk)
18.98usd/11.48gbp/14.49eur/1869jpy (approx)


*As a girl-about-L.A. and singer with the wonderful Smith, Gayle McCormick had it all. And here on her wonderful Lambert-Potter produced first album from 1971, you have it too! In the midst of producing The Four Tops, Evie Sands and Dusty Springfield, Lambert and Potter were on a roll, providing a glossy Hollywood take on Northern Soul which makes even the songs you might think are too well trodden absolutely vital! Possibly the best ever version of 'Superstar' too and you know how good that means! A classic pop/soul album, much in demand in DJ circles! Wonderfully mastered in top Rev-Ola style! Wonderful artwork by Pepperbox! A must for all fans of Evie Sands, Dusty Springfield and soulful femme pop of all sorts!

AVANT GARDE AND BEYOND


URSULA BOGNER- RECORDINGS 1968-1988 LP (faitiche, germany)
19.98usd/12.09gbp/15.25eur/1967jpy (approx)


*vinyl edition, strictly limited to 500 copies in a gatefold sleeve… This is the debut release on Jan Jelinek's label Faitiche: a collection of unheard electronic experiments from an unlikely source. Ursula Bogner's was a pharmacist, wife and mother, and she was obsessed with electronic music -- an obsession that drove her to build her own studio for extensive recording and experimentation. Ursula Bogner was born in 1946 and raised in Dortmund -- she moved to Berlin at 19 to study pharmacy. She immediately went to work for pharmaceutical giant Schering, followed by marriage, children and a successful yet by no means sensational scientific career within the multinational heavyweight. At the same time, she developed a keen interest in electronic music. Throughout her early 20s, she followed the activities of Cologne-based Studio Für Elektronische Musik, attended seminars by Studio founder Herbert Eimert, exhibited great enthusiasm for musique concrète and, later on, shared her children's enthusiasm for British new wave pop. Nevertheless, Ursula Bogner never involved herself in any scene, never made her music public. Besides composition, she also tried her hand at painting, printing (the booklet features reproductions of two of her linocuts) and developed a strong fascination for mysticism, esotericism, and Wilhelm Reich's "orgonomy," the psychoanalyst's bizarre late work on his discovery of "orgonenergy" or life-force. Her compositions are studies and sketches: humorous and -- in view of her biography -- almost silly, rather than mystical or scientific. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles, leading to a huge wealth of work and a bewildering variety of titles, from filter modulations, tuba tweaking, bass anthems, looping experiments, synth-pulse symphonies, to rhythmic patterns trapped in echo chambers. In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, Jelinek only found individual tracks of pieces recorded on a four-track-recorder -- in these cases, he had to recombine the separate tracks to recreate the original piece. Invoking the original's authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this LP are such "reworkings." All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even "poppy" side. An exhilarating find from a truly undiscovered electronic artist.

ELEH/PAULINE OLIVEROS- THE BEAUTY OF THE STEEL SKELETON/DRIFTING DEPTHS LP (important, usa)
21.98usd/13.30gbp/16.78eur/2164jpy (approx)


*Important Records is quite pleased to be presenting this split release consisting of two new drone works from Pauline Oliveros and Eleh. Oliveros, an early American minimalist who has pioneered the technique of 'deep listening,' has created a new work exclusively for this release. 'Drifting Depths' is a new improvised piece made on a harmonica being processed through Pauline's Expanded Instrument System. Eleh's side, also exclusive to this vinyl only release, is super slow melodic drone full of stillness, tension and relief. Vinyl only, handmade and handassembled, letterpressed jackets. Limited edition. A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. West Coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recording. Eleh was formed to specifically to pay tribute to early experimental minimalist pioneers especially La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. Using an enormous vintage modular analog synthesizer, a battery of glowing HP tube test oscillators and occasionally guitar/piano, Eleh creates highly minimal and deeply spiritual pure analog drone music with emphasis on the physical ultra-low end. Incorporating tones as low as .05 hz (well below the range of human hearing) Eleh is as much of a physical experience as it is an audio one. This engaging record was created as a tool for meditation and to be heard/felt correctly the listener must be sitting with ears at speaker height at least 7 feet away from the speakers. Volume reveals detail.

ELEH- FLOATING FREQUENCIES/INTUITIVE SYNTHESIS III LP (important, usa)
21.98usd/13.30gbp/16.78eur/2164jpy (approx)


*Deluxe pressing of 500 copies packaged in letterpressed covers designed by Important and printed by 23rd Parallel. Mastered by James Plotkin. Hand numbered/hand assembled. Eleh's Intuitive Synthesis/Floating Frequencies III is the third release in their Intuitive Synthesis series (Volume 2 was released over a year ago) and it is being released simultaneously with an Eleh/Pauline Oliveros split release. Both are limited edition and LP only. Meticulously minimal analog drone. Eleh was formed specifically to pay tribute to early experimental minimalist pioneers especially La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. Using an enormous vintage modular analog synthesizer, a battery of glowing HP tube test oscillators and occasionally guitar/piano, Eleh creates highly minimal and deeply spiritual pure analog drone music with emphasis on the physical ultra-low end. Incorporating tones as low as .05 hz (well below the range of human hearing) Eleh is as much of a physical experience as it is an audio one. This engaging record was created as a tool for meditation and to be heard/felt correctly the listener must be sitting with ears at speaker height at least 7 feet away from the speakers. Volume reveals detail.

FOLK, BLUES AND ROOTS


LOS JARDINEROS- THE BEST OF LOS JARDINEROS: CLASSIC RECORDINGS BY PUERTO RICO'S MOST LEGENDARY STRING BAND 1929-1932 CD (yazoo, usa)
18.98usd/11.48gbp/14.49eur/1869jpy (approx)


*Los Jardineros is the greatest traditional Puerto Rican band that ever recorded. Legendary for their brilliant musicianship, their classic records from 1929 capture this great body of music in its heyday when it was most strong and vibrant. Their original recordings, which are extreme rarities and collectors items, are available here for the first time. Fans of early Latin music and other traditional genres will find this release a revelation containing a gold mine of exceptional performances. Drawn from an extensive body of work that reveals the diversity of the early Puerto Rican music scene on the island and in New York, The Best of Los Jardineros features plenas, fox trots, boleros, danzas, decimas, aguinaldos and more -- a fascinating array of vocal and instrumental performances in the traditional styles from which salsa emerged. The Best of Los Jardineros is released in a special DVD-sized digi-pak with 23 tracks from newly restored 78s that feature the top Puerto Rican guitar and mandolin players of the day including the 'king of the cuatro' Heriberto Torres.

BARBECUE BOB- CHOCOLATE TO THE BONE CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*1992 release… Barbecue Bob of Atlanta was a great singer and powerful twelve-string bottleneck guitarist in the 1920s. His inventive and varied arrangements are compelling rhythms made him a musical standout. His percussive attack was totally unlike any of his peers and added a new dimension to Georgia blues.

REV. GARY DAVIS- THE COMPLETE EARLY RECORDINGS OF REVEREND GARY DAVIS CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*1994 release… Reverend Gary Davis was one of the greatest guitar players of the 20th century, regardless of genre. His range of styles and repertoire encompassed the spectrum of black music from the early part of the century. His faultless and complex picking techniques gave his 'holy blues' an inimitable richness, complemented by his impassioned religious singing.

MISSISSIPPI JOHN HURT- 1928 SESSIONS CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*1990 release… With his warm, gentle vocals and rhythmic guitar lines, Mississippi John Hurt's recordings represent a fascinating counterpoint to what is expected of Mississippi blues. His repertoire is a mixture of narrative ballads, traditional songs and blues.

SKIP JAMES- THE COMPLETE EARLY RECORDINGS: 1930 CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*1994 release of newly remastered original recordings… Certainly the most haunting and eerie sounding of all bluesmen, Skip James had a rare ability to draw upon his inner self for musical expression and an unmatched facility as an arranger to create a truly unique body of work. His playing on guitar and piano is unparalleled for rhythmic unpredictability and emotional effect.

SKIP JAMES- HARD TIME KILLIN' FLOOR CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*Skip James is one of the 'Mount Rushmore' historical blues figures, ranking right at the very top of the blues pyramid with the likes of Charlie Patton. His guitar playing is the most innovative and complex of all the early blues greats and his unique piano stylings have also fascinated fans for over seven decades. His singing, too, is totally unique in its high eerie delivery and haunting effect. Skip's complete total early recordings (18 selections) are presented here in dramatically improved new fidelity that offer even more testimony to his greatness. A bonus 4 tracks by fellow Mississippian blues legend Son House are also included in stunning and exciting new fidelity.

BLIND WILLIE MCTELL- THE BEST OF BLIND WILLIE MCTELL CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*Classic recordings of the 1920's & 30's, transferred from 78s… Blind Willie McTell was one of the giant figures in early blues history. He was a brilliant technician as well as an especially expressive musician and singer. And he had a rhythmic sense second to no one. His repertoire cover the whole spectrum of early rural music: blues, rags, breakdowns, religious songs and more. Assembled here are his 23 best performances reproduced in, far and away, the best sound quality they have ever been heard in. This new level of fidelity intimately brings to the fore the genius of this wonderful artist.

CHARLEY PATTON- THE BEST OF CHARLIE PATTON CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*Charlie Patton is considered by many to be the single most important figure in the history of traditional blues as performer, influence and inspiration. The combined power of his vocal and guitar dynamics is unparalleled, and his legacy is an imposing body of powerful and eloquent music. The Mississippi Delta is at the heart of the blues and Charlie Patton is the essence of Mississippi Delta blues. For this release YaZoo has re-mastered these classic recordings in the finest sound reproduction ever, far surpassing anything done before. Features his 20 greatest performances.

WASHINGTON PHILLIPS- THE KEY TO THE KINGDOM CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*Compiled from extremely rare 78s originally recorded between 1927-1929, remastered in 2005… Washington Phillips is one of the most intriguing and delightful figures in American music history. His style is completely unique, both in his warm, plaintive singing and his use of zither for accompaniment. His treatments of early religious material is poignant and expressive and his zither playing backup is absolutely captivating. His complete output of 16 selections is presented here with brand new remastering that heightens all the irresistible characteristics of his performances. Included also are 4 bonus tracks of similarly touching early religious music by Mamie and A.C. Forehand.

ROY SMECK- PLAYS HAWAIIAN GUITAR, BANJO, UKULELE AND GUITAR 1926-1949 CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*1992 release… A master musician, Roy Smeck is notable for his magnificent technical skill and artistry as well as his historical importance within the field of guitar playing itself. Everything he did was innovative in his field, for professional guitar playing scarcely existed when he started his career. His performances draw on rags, pop, blues, ethnic music and jazz, and are simply astounding.

V/A- COUNTRY BLUES BOTTLENECK GUITAR CLASSICS 1926-1937 CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*Bottleneck blues came from every region of the South; from Memphis (Memphis Minnie) to Texas (Black Ace) to Mississippi (Robert Johnson) to Georgia (Barbecue Bob), startling and imaginative creations were produced by a wealth of top-drawer bluesmen. Powerful, driving performances that utilize both clear single-note and barred chords will delight any listener. 1991 release of essential bottleneck classics from Barbecue Bob, Weaver & Beasley, Ruth Willis, Bukka White, Shreveport Home Wreckers, Robert Johnson, Black Ace, Jim & Bob (The Genial Hawaiians), Irene Scruggs, Kansas Joe & Memphis Minnie, Oscar Woods, Bo Weavil Jackson, King Solomon Hill, and Ramblin' Thomas.

V/A- THE STUFF THAT DREAMS ARE MADE OF 2CD (yazoo, usa)
27.98usd/16.92gbp/21.36eur/2755jpy (approx)


*A double CD packaged in a beautiful DVD-size digi-pac containing 46 of the rarest and greatest blues and country 78s from the 1920s and early '30s. Included are two newly discovered masterpieces by legendary blues figure Son House, 'Mississippi Country Farm Blues' and 'Clarksdale Moan.' These have never been heard before and will generate tremendous interest among all blues fans. Likewise, country enthusiasts will be excited to hear the long lost, often believed never issue Georgia Pot Lickers record, both sides featuring duet fiddling by all time greats Lowe Stokes and A.A. Gray. And these are just the beginning of a lineup of super rarities and unissued gems. Many of the tracks, like Luke Jordan's 'If I Call You,' have never been heard even by the most advanced collectors, thus imbuing this release with loads of charisma and cachet. Striking cover art by legendary cartoonist Robert Crumb. Inside the larger format package is a booklet insert with extensive graphics and notes, including a hilarious exposé on the lunacy of collecting. Features super rarities, many never before heard, by giant figures in early American rural music like Andrew and Jim Baxter, Sweet Brothers, Jay Bird Coleman, Clarence Ashley, Tommy Johnson, Dock Boggs, Memphis Jug Band, Allen Brothers and many many more.

V/A- TIMES AIN'T LIKE THEY USED TO BE VOL.7: EARLY AMERICAN RURAL MUSIC CD (yazoo, usa)
17.98usd/10.88gbp/13.73eur/1770jpy (approx)


*A collection of classic recordings from the 1920s and '30s featuring many all-time great performances of early American traditional music. These two volumes are a fascinating overview of traditional American musical styles from the Civil War to the 1920s including all phases of both white and black genres, fiddle tunes, rags, banjo songs, religious selections, old ballads, blues, etc. Both volumes abound with rarities never appearing before on any reissues. Yazoo's usual high standards of sound quality, graphics, and note are apparent through out.

HOUSE, TECHNO AND DISCO


AMPLIFIED ORCHESTRA- KOBU EDITS 12" (6 records, netherlands)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*surprise restock… Great edits by Amplified Orchestra on this obscure Chicago label (Check 6-001 DJ Total M aka Miles Maeda from Chicago). The A-side is two different versions of a massive space Italo disco track (Kebekelektrik?). And the B-side is just amazing... some kind of cosmic old Italo track in the re-edit... not sure what it is, but it's so nice!!!

AMPLIFIED ORCHESTRA- COSMIC FIRE 12" (amplified orchestra, netherlands)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*surprise restock… Not sure where this guy finds all these obsucre records... but here is another great selection of very rare, or maybe even newly made tracks by Amplified orchestra. Some essential re-edited, re-arranged and remixed cosmic disco, italo disco or whatever disco boogie tracks.

JARK PRONGO- SPADET 12" (a.r.t.less, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*The new release on the Mojuba sub-label features two classic and timeless moments of Dutch techno music. Last year, René Et Gaston convinced us all with the fabulous Merluche Ideal EP and now they are back under their infamous Jark Prongo pseudonym. The main track 'Spadet' was also one of the chosen tracks for the legendary X-Mix by Kevin Master Reese Saunderson on Studio K7!, and even after more than a decade since its original release, there are still goosebumps while hearing the magnificent sounds of that tune! The B-side might be less known, but it still captures that special feeling and the power of true Detroit techno, which never left our hearts. The whole package was remastered to today's standards by none other than the sound connoisseur, Monsieur Redshape!

PARALLEL 9- TECHNIQUE 12" (a.r.t.less, germany)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*restocked… No time to breathe again, the Mojuba sub-label hits again with real a peak time killer, which serves our minds and feet. This smashing 2-tracker is more evidence of the versatile musical talents of our beloved Dutch techno legend, Steve Rachmad. This time it's under his Parallel 9 moniker, which indicates an exceptional quality and deepness in techno every time! These tracks were produced way back in 1997, completely remastered and phattened by friend and supporter of the very first moment, 2000 and One! Once again, a serious collector's item.

ARNE WEINBERG- PATH OF THE GODS 2LP (aw, netherlands)
21.98usd/13.30gbp/16.78eur/2164jpy (approx)


*restocked… The great debut album by Mr Weinberg. Great Detroit inspired techno tracks which can be compared to the works of Carl Craig, B12, Kenny Larkin, Duplex and Convextion to name a couple. The album is going from Deep motorcity techno to some downtempo space tracks and more upbeat tracks. This is probably one of the better Classic Detroit Techno albums in the recent years.

EXERCISE ONE VS LEE BURRIDGE- TREAT EM MEAN, KEEP EM KEEN 12" (exercise one, germany)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*restocked… Following on from Exercise One's collaboration with David E. Sugar, this one-sided 12" teams up the duo of Marco Freivogel & Ingo Gansera with Fabric resident Lee Burridge for a mighty, linear production that builds up dutifully, grounded in the fundamentals of techno, with a classic 303-styled bassline sound that could have originated from 1988 as easily as 2008, even dropping in Josh Wink-alike tweeting acid synths. Eventually the track constructs its way to a mighty rave megalith - minimal this ain't. –boomkat

V/A- FIRECRACKER 12" (firecracker, scotland)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*At last! Due to feverish demand, Firecracker have decided to repress their legendary 'lost' second EP. Overflowing with more ideas, energy and soul in one record than most labels manage over their entire lifespan, the EP takes in jazz, house, disco and p-funk, mixes it up with some inimitable Scottish cheek and turns out music that's fresh yet timeless. This proved to be a huge crossover in 2005, getting props from some of the finest DJs including Stacey Pullen, Gilles Peterson, Domu, Danny Krivit, Derrick May, Ron Trent who picked up the record from its exclusive outlet, London's Vinyl Junkies. 2008 sees the repress and a new opportunity to complete the Firecracker trilogy! Linkwood gives us 'What's Up with the Underground?' hot, urgent, joyous jazz/house music that's guaranteed to ignite any dancefloor -- be warned, spontaneous human combustion is a real risk when this record hits. Fudge Fingas drops the heavyweight 'Escape.' With samples from cult TV series The Prisoner, huge synth lines and beats like vintage Glenn Underground this is definitely odd house music -- turn it up! The Complainers 'Bacon Rolls' is bizarre funk from somewhere else entirely -- if Chris Cunningham made a porno flick then this would be the soundtrack. Plus there's extra sickness from 'What's Up With The Beats?' (rather than a mere dub, this is almost an entirely different jump-up disco track) and a bonus Firecracker skit. As with EPs 1 & 2, the packaging for this limited press rerun is as mighty as the sounds on the vinyl itself, using only lithographic printing processes.

JASON CARR- ATHLETIC 12" (great circles, usa)
9.98usd/6.04gbp/7.62eur/982jpy (approx)


*Inciting, a Philadelphia collective focused on events and artist support officially launches its first label, Great Circles, with Jason Carr's Athletic 12". Athletic features four through-composed tracks that, while influenced by Detroit techno and electro, are marked by unique percussion sounds and rhythms, future bird songs, and a momentum that makes them as appropriate for the evening subway commute as they are for the sets of adventurous, rhythmically aware DJs. All four tracks were recorded live at the studio of Jason Begin, better known as Vytear, who not only mastered the tracks but also added on-the-fly production while Jason Carr performed each piece… Jason Carr was born in Detroit and currently resides in Philadelphia. A composer of both acoustic and electronic music, he is an active live laptop performer in Philadelphia's electronic dance music scene. In addition to his laptop work, Jason is an improvisational pianist, exploring the reactionary element of music creation. He frequently collaborates with Cuban choreographer Marianela Boan and her BoanDanz ensemble. Limited first run of 150 stamped white label copies.

SAM TAYLOR-WOOD PRODUCED BY PET SHOP BOYS- I'M IN LOVE WITH A GERMAN FILM STAR 12" (kompakt, germany)
12.98usd/7.85gbp/9.91eur/1278jpy (approx)


*Highly-acclaimed artist and film-maker Sam Taylor-Wood releases the single I'm In Love With A German Film Star. The single, a cover version of the post-punk classic by The Passions, was produced by Pet Shop Boys who also did a full-length Symphonic mix. Also including remixes by Gui Boratto and Mark Reeder. This track is also available on a limited edition 7" of 500 numbered copies.

MDR- MDR 02 12" (mdr, germany)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*restocked… Hypnotic techno remixes of unreleased MDR tunes." T++ Remixes.

MARCEL DETTMANN- CLIME 12" (mdr, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Crafty techno w/a nautical, metallic sound sphere.

MMM & SOUNDHACK- 10TH ANNIVERSARY 12" (mmm, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… After celebrating the 10 years anniversary last year, MMM and Soundhack have a split release together. This true double A side features fresh current productions as well as 'from the vaults' tracks, goodies they found on tapes from back in the days, when they just started these projects.

JOHN BELTRAN- FRAGILE/EARTH & NIGHTFALL 12" (millions of moments, netherlands)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Probably the best tracks of John Beltran ever!! Taken from his classic release (and very obscure release on the 33rpm/sineave label from Detroit in 1993). Nice and fragile techno tracks..but still with a drive and energy. Back in those days this was one of the best catches during your weekly record shopping... and today its still as good as it ever was.

AARON CARL- WALLSHAKER 12" (millions of moments, netherlands)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… The great Wallshaker track of Aaron Carl.. one of his best songs to date. Pure Detroit house music with a solid driving track deducted to the essentials and a sweet male vocals on top! A-side is so freaking nice!!! Same kind of quality as Mr White (and Larry Heard) Sun Can't Compare! Very much recommended!

REDSHAPE- DOG DAY 12" (millions of moments, netherlands)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… One sided release by one of the hottest names in Techno at this moment. Probably his first real house tune!. Slower pace and slower beats with a nice old school-ish house feel (early '90s beats with a sampled break beat and 707 cowbells and stuff) The real hook line is a slow raving sample that goes on and on... Redshape's most surprising track to date.

BERNARD BADIE- TIME REVEALS 12" (mojuba, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Mojuba is celebrating its 10th release with the resurrection of a real house music classic. We are talking about the legendary record called Time Reveals by Chicago resident and house veteran Bernard Badie. Many of you will remember the title track often mistakenly called 'Can You Feel It' from the infamous X-Mix-5 The Wildstyle by DJ Hell on Studio K7! Since today Bernard Badie was working together with friends like Larry Heard or Dajae and delivers his unique house sound for labels like Night Club Records, Cajual and Circuit Records, La Casa, Distance and recently for Tony Humphries' imprint. Check this original house power!

SVEN WEISEMANN- KISS OF ABANA 12" (mojuba, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Sven Weisemann, who was recently very busy by providing remixes and tracks for the likes of House Cafe Music, Styrax Leaves, Styrax, Liebe*Detail, Rotary Cocktail, Freund Der Familie, ProgCity, Deep Trax and Meanwhile, is now coming up with some fresh killer stuff for Mojuba, the musical place of origin. The A-side 'Kiss Of Abana' is a catchy dancefloor monster with banging percussive drums and trademark Weisemann chords. The B-side 'Amity' seems to keep it cool in the beginning, but that's only the prelude to a funky feast of deepness!

I-ROBOTS FEAT. MARCONI- PERFECT LOGIC CIRCLE 12" (ornaments, germany)
16.98usd/10.27gbp/12.96eur/1672jpy (approx)


*New strong limited vinyl from this mysterious label! Italy's I-Robots brings us a deep, dubby hypnotic trip for all lovers of Âme & Dixon. Inclusive, groovy, stompin' edit by G.Digger! Be fast! Only a few hundred copies! Pressed on speckled vinyl.

REDSHAPE- PLONK 12" (present, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Redshape offers deep emotional techno with haunting strings and solid bubbling basslines. As always this comes in a highly limited blue vinyl pressing. For all those Redshape fans, please check the Slices 01-08 with Redshape on the frontcover and a nice inside look on this hot producer.

REDSHAPE- UNFINISHED SYMMETRY 12" (present, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… A -side is a massive track that builds around a seductive and effective minimal Detroit-ish groove with a driving bassline reminiscent to some Carl Craig works. But Redshape totally builds it to another level with sublime melodies and a additional bouncing bassline! A track that gets the crowd focused on the music and keeps going for more then 8 minutes! Very Strong!! B-side is a typical Redshape track (A has a great recipe...) an addictive groove and then slowly building and teasing the listener/dancer.

JOHN BELTRAN- PART 1 12" (styrax, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Official 2006 3-track release of breathtaking ultimate Detroit classic! From the legendary album Earth & Nightfall! A 1990s 'intelligent techno' blueprint.

ARNE WEINBERG- SON OF THE SUN 12" (styrax, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Another great piece of great techno by one of the brightest talents from Germany! This is so nice... this would fit perfectly on a label like Planet E or Transmat. Must have for all fans of Carl Craig, B12, Evolution, early Speedy J works and of course Derrick May. Also check out Arne Weinberg's Path of the Gods album restocked this week as well.

V/A- IN LOVING MEMORY 1:4 12" (styrax, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Great compilation ep with some beautiful techno tracks. Including As One, Ian Pooley, Sean Deason and Arne weinberg. Deep driving percussive techno tracks with nice warm and emotional strings. Amazing tracks for the mind and soul...but without forgetting your ass and feet!

V/A- IN LOVING MEMORY 2:4 12" (styrax, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Second collection of quality Detroit (orientated) techno for the mind and body. A1: Rod Modell - Lama Temple (unreleased Version), A2: Sounders Department - Cosmopolitan (Mix 2), B1: Never On Sunday (Octave One) - The Journey & B2: Laurent Garnier - 022....!

SHED/D. WILLIAMS/S. WEISEMANN- 2ND BOUQUET 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Late night Detroit club tracks with strong hints from the past but with technology from the future.. Limited, hand stamped issue...

2000 AND ONE- FINITE STATE 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Superb deep Basic Channel flavoured spacy tracks by this 100% Pure artists!

V/A- 7TH BOUQUET 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… This label can't be stopped! Another beautifull record with some of the nicest techno ever made. This music will still get to the soul in 10 years.. Deep dubby tracks by Redshape (!), David Hausdorf (great, great track!) and Octal industries. Nice warm techno tracks with its roots in Detroit but with its flowers growing in the Eastern parts of Germany at the moment!

SVEN WEISEMANN- VIVID MEMENTO 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… Smooth techno tracks from Sven Weisemann who seems to be one of the hot German talents. After his great releases on Mojuba he comes with more blissful Detroit techno. 4 tracks that fit perfectly on the cool Styrax label. This blends perfectly with Ame, Omar S or Chateau Flight!

REDSHAPE- TELEFUNK 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… A very strong release from the Styrax camp. Redshape delivers 3 deep but funky Detroit technotracks. Its shuffling rhythms, warm chords & build-up tension will work perfectly on late night clubfloors.

MONO JUNK- CHANNEL B 12" (styrax leaves, germany)
14.98usd/9.06gbp/11.44eur/1475jpy (approx)


*restocked… A one sided release with a deep, haunting Basic Channel style production by Kim Rapatti (Monojunk) from his Trope period (the german label). This is a must for all Basic Channel afficianados. Another cool Styrax record! Only 300 copies pressed!!

GOWENTGONE/MARCEL DETTMANN & FENGLER- REMIXES 12" (vidlab, germany)
11.98usd/7.25gbp/9.15eur/1179jpy (approx)


*restocked… Limited white label release w/ great Dettmann remix. Here we go with the next release on Vidab. Number 5.5 features two remixes by Berghain residents Marcel Fengler and Marcel Dettmann. Listen to their interpretation of two unreleased Gowentgone tracks. There is no need to describe the tracks point by point. Just give them your full attention and enjoy them.

GIFT CERTIFICATES


gift certificates are always available in any denomination and come in a envelope ready to be stocking stuffed, slipped into pockets or dispensed in any way you see fit. they can be paid for in cash, credit card (visa, master card or discover) or paypal in person, phoned in or via email. gift certificates not paid for in person can either be mailed to you, or we can keep it in shop if the recipient plans to use it for mail-order.

ADDRESS


tequila sunrise records
525 w. girard avenue
(btwn 5th and 6th streets)
philadelphia, pa 19122


SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard/3rd-4th st; 47 to girard/7th-8th st.


MAP


t/us: 1215 965 9616
t/uk: 0203 004 8357
e: ajv@tequilasunriserecords.com
u: www.tequilasunriserecords.com
m: www.myspace.com/tequilasunriserecords
b: www. tequilasunriserecordshop.blogspot.com
f: www.brownstoner.com/brooklynflea/


HOURS


monday: closed
tuesday: 12:00-6:00pm/est
Wednesday: 12:00-6:00pm/est
thursday: 12:00-7:00pm/est
friday: 12:00-7:00pm/est
saturday: 12:00-6:00pm/est
sunday: 12:00-6:00pm/est



Thursday, October 23, 2008

NEW ARRIVALS/RESTOCKS FOR FRIDAY, OCTOBER 24

NEW ARRIVALS AND RESTOCKS FRIDAY, OCTOBER 24


Photobucket


thanks for looking.


alright… fall is here!!! and along with the brisk and beautiful days comes boxes and boxes of killer records… fall and records, huh? what’s up with that? welp, i’ll tell ya… there is nothing –nothing- better than biking –or walking, if you prefer- home in the evening, stars shinning, the wind ever so slightly stinging your face, knowing that you have a nice clutch of vinyl in your back-pack that you can dig into once inside your apartment… pour a beverage of your choice, lay one of those records on the turntable and… make some dinner… or something… whatever you chose to do, don’t miss out on this weeks top picks: carl craig/moritz von oswald colab on deutsche grammophon (!!!); new volume in the history clock series; sprigs of time compilation on honest jon’s and a nice reissue of the famous oz days comp… all totally essential! plus new and restocked titles on catsup plate; drag city; mississippi; no more records; soul jazz; soundway; baltimore club classics; black cock; cocoon; eskimo; flexx; non standard productions; ornaments, same soul different body and more… come on by and check em out!


gracias


anthony


as always, many of the titles are in very limited quantity, so if you're interested in anything listed below, feel free to call or email me, I will gladly hold items for up to a week.


prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.


i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. as with the international shipments, orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.


PICKS OF THE WEEK


CARL CRAIG/MORITZ VON OSWALD- RECOMPOSED CD (deutsche grammophon, germany)
34.98usd/21.76gbp/27.36eur/3403jpy (approx)


*ReComposed is the result of a gradual process, even the 'Intro' was set down at the very first session -- in Detroit, Michigan, which is and has been the center of the development of Afro-American techno music for about 20 years. And it was about 20 years ago that the recordings by the Berlin Philharmonic Orchestra of the works, which the two artists have used for their project, were released for the first time on CD. Moritz von Oswald told me that the commissioning company wanted them to use an historic recording by the Berlin Philharmonic under Herbert von Karajan's baton, but that he expressed the wish to use unmixed multi-track recordings in order to better employ the various instruments. Sure enough, recordings (with 16 separate tracks) of this nature existed, among them precisely the three works that Moritz von Oswald and Carl Craig, whom Moritz spontaneously invited to work on the project with him, wanted to use: Maurice Ravel's 'Bolero' and 'Rapsodieespagnole,' and Modest Mussorgsky's 'Pictures at an Exhibition' in Ravel's orchestration. After a first meeting in Moritz's home town, Berlin, where they listened to the original Deutsche Grammophon recordings from 1985, 1986 and 1987, Moritz set to work on the pre-production of various bits and pieces they had chosen, isolating certain instruments or groups of instruments, separating them out from various microphone-tracks, and mixing them anew. Then he took everything to Carl Craig in Detroit where the two musicians (both highly acclaimed techno innovators ever since the birth of the genre) sat down with their instruments -first and foremost a synthesizer, then old, analogue but, (as Carl Craig told me)legendary drum machines, and traditional percussion such as woodblocks and chime bells, even a double-bass -- and improvised a prelude during which sounds and patterns were created, reminiscent of Brian Eno's collaboration 30 years ago with the German electronic duo Cluster, and which I should like to call Common or Garden Electronics (in contrast to cultivated Techno Soul) and which was in those days a minor German export hit following in the wake of Krautrock. Carl Craig had already had a great success in the early 1990s with a version of Manuel Göttsching's historic (if not epochal) post-Kraut/proto-house title E2E, which Moritz von Oswald and Mark Ernestus later remixed. (What a wonderful term -- Afro-Germanic -- which arose out of the afro-diasporic Underground Resistance-Zentralkomitee!) An everyday situation: one goes out of the house into the road and immediately recognizes a good friend approaching. My first thought is often to cross over the road, hopefully unnoticed, or even duck into a house entrance. And I had a similar feeling with the first appearance of the percussive, repetitive Bolero motif following the introduction. Here is the first clear indication that samples were used, and in this case precisely how the composer had intended, how he had meant them. (I had the same sort of feeling with the following track, where the trumpets are taken from Mussorgksy's Samuel Goldenberg and Schmuyle.) But I soon overcame my irritation and plunged happily into the hypnotic maelstrom of the slowly unfolding 'Movement 1.' It is certainly interesting that sampling often employs a blatant motif which is then worked on with imagination, and taken beyond recognition, which in turn often leads to something new (better, not merely borrowed). I asked Moritz if this was not rather similar to classical music, where leitmotifs are employed. He replied that that was the whole point of the exercise (creating by doing). The tonal leitmotif of the composition (except for a secondary motif on the harp) was dropped on account of it being too obvious (for fruitful re-use). The rhythmic patterns of 'Bolero' were another matter, however; for Moritz von Oswald, 'Bolero' is the very first classical composition with a rhythmic loop upon which a melody is built. Carl Craig also declared that this leitmotif was absolutely indispensable. Suddenly, the sound explodes way beyond that produced by a classical orchestra: subsonicbasses slide over the musical seabed. Movement 2: Enter the Goldenberg/Schmuyle trumpets, partly as on the historical original track, but also looped, tuned, pitched and layered. And quite clearly, for all to hear, layered on top of one another we have 'Bolero,' 'Rapsodieespagnole' and 'Pictures at an Exhibition.' The whole 'friendly takeover' of the originalBolero (particularly recognizable from the rhythmic snare patterns) now possesses a certain swiftness and is high-pitched, which leads Moritz von Oswald to conclude that the well-known, popular recordings of 'Bolero' have always been performed more slowly than the composer originally intended: this music really should have 128 beats per minute. Premiered in 1928, right in the middle of the Jazz Era and already influenced by jazz, it had a great influence on the further development of jazz and on such genial forerunners of the Third Stream as the young cornettist and pianist Bix Beiderbecke. (Frank Trumbauer turned in his seat, caught Bix's attention, and nodded at an expensively dressed, bearded man, obviously not an American, who had entered and was standing with a group of Victor officials listening to the music. 'Say, Bix, any idea who that is?' Trumbauer's smile betrayed immediately that he knew something Bix had better know too, and fast. 'Nope. Looks French to me.' 'Very astute, old boy. That's Maurice Ravel.' Ravel, whose music he all but worshipped. A key figure in the French Impressionist school, master orchestrator, harmonic innovator, composer of 'Ma Mèrel'Oye' and the 'Daphnis and Chloe' suites; this man's genius had produced the monumental orchestral setting of Mussorgsky's 'Pictures at an Exhibition.' 'Oh, my God,' said Bix. 'It really is.' 'Why don't you ask him for his autograph?' said Charlie Margulis, amused at his section mate's unconcealed awe. Bix shook his head. 'I couldn't. I mean, I wouldn't dare.' That evening, Bix, Roy Bargy and other Paul Whiteman sidemen went to hear Ravel conduct the New York Philharmonic, and later spotted the composer in a speakeasy. This time Bix was not too shy to try an approach, but advanced on his table with an almost fierce determination. 'Excuse me, sir. I'm Bix Beiderbecke. May I sit down?' Ravel, presumably too surprised to even think of a reason why not, indicated an empty chair. The two were soon engrossed in animated conversation, which began with Bix saying, quite audible several tables away, 'I love everything you've ever done.' It is not certain whether the two men saw one another again, though at least one account has Ravel visiting Bix's flat in 1931 to listen to play his own piano works. Movement 3begins with an elegant rhythm, pepped up with bright synthetic hi-hats, which is reminiscent of the Rhenish group Kraftwerk (the Afro-German heroes of Motor City), whirling trumpets join in (see Duke Ellington's 'Trumpets No End'), and then quite suddenly a sonorous bubbling sound rises up out of the musical depths and emerges on the sparkling surface -- rather like an echo of early acid house music (have you discovered the BASF-tape at the bottom right of the cover?) -- a very welcome sound for me, which is repeated several times in the next few minutes, starts to become dominant, even silencing the brass from Goldenberg and Schmuyle and -- at last -- allows the bass drum to enter. Question: where are the samples from Deutsche Grammophon? OK, there's a very soft, little woodwind motif, but the tribal slit gong is certainly not Ravel's. Nor is the fluffy orchestra from the Intro, which pops up again to prepare us for the seamless transition to track 5 of the album, 'Movement 4,' the powerful, down-to-earth club track, the single we all want to dance to. And it is not in the least strange but liberating that now, after the 25 well-thought-out minutes which have brought us here, that all references to classical music are done away with -- and we've landed in a club. I asked Carl Craig if that was planned right from the start, and he answered: It just happened. It's all very elegant now, the bubbling sound from of the depths return, something in the music definitely begins to jack, and the fleet-footed Kraftwerk-like sound is treated to a fairly drastic saw-toothed embellishment. Movement 4: to couple this out for a 12" vinyl LP would be logical. Perhaps, said Moritz, when I suggested this to him, and maybe with other remixes, which would carry on from this one (or lead elsewhere). I will definitely buy them, but then: I buy everything that Moritz von Oswald and Carl Craig have produced (and that is quite a lot) on their own labels (Basic Channel, with its various other sub-labels in Berlin, in partnership with Mark Ernestus, and Carl Craig's Planet-E in Detroit) and so I more or less have a whole series of their projects (mutual remixes) going back to 1993. Over the period of one year, Carl Craig and Moritz von Oswald visited one another in Berlin and Detroit, where they created loops and made improvisations on them (just as jazz musicians do, although Carl Craig prefers to talk of jamming and not jazz music; I don't quite agree, but then, I have always considered even his earliest, completely synthetic tracks, where he jams with himself, as jazz). They opted for certain takes, which they left unchanged, and from these, they developed and set down further tracks. If one listens carefully here, a huge arch emerges which is brought to a happy conclusion. An Interlude, filled with drones, clusters and other sonic effects, which produce a pleasant cloud of sound, prepares the way for the two last, very lengthy pieces, and it is interesting to learn that each of the final movements was mixed by just one man: Carl Craig is responsible for the opulent Movement 5, in which its classical origins are overwhelmed here and there by heroic-sounding, symphonic strikes, and one is transported to the parallel world of four-to-the-floor music; and (introduced by a cross fade) Moritz von Oswald puts his name to 'Movement 6,' which is more minimalistic, and more abstract despite prominent, almost waltz-like congas. That's quite right, said Carl, but unimportant -- it's still teamwork. --Thomas Meinecke, September 2008

IT’S A FINE LINE- WOMEN: A MAKHNOVSCHINA REPOSSESSION 12" (history clock, uk)
12.98usd/8.08gbp/10.15eur/1263jpy (approx)


*On the third History Clock release, It's A Fine Line (AKA Ivan Smaggheand & Tim Paris) take us on a mesmerising trip back to late seventies Canada via the year 2525. This future-disco/proto-techno masterpiece is raw mix of primitive electronic beats, crazed vintage delays/reverbs, huge anthemic piano chords and yearning, oh-so-infectious male vocals. "Woman" has already found favour with both discerning house selectors and oddball disco jocks with DJ support from James Murphy (DFA), M.A.N.D.Y. (Get Physical), Ewan Pearson, Cosmo, Damon Martin (Disco Bloodbath) and many more. Also features an instrumental dub version.

V/A- SPRIGS OF TIME: 78S FROM THE EMI ARCHIVE 2LP (honest jon’s, uk)
22.98usd/14.30gbp/17.97eur/2236jpy (approx)


V/A- SPRIGS OF TIME: 78S FROM THE EMI ARCHIVE CD (honest jon’s, uk)
18.98usd/11.81gbp/14.84eur/1846jpy (approx)


*This is the third in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. Honest Jon's has spent the last two years delving through more than 150,000 78 records in the temperature-controlled steel vaults of EMI's Archive in Hayes, Middlesex. Following studious compilations of West African and Iraqi music of the 1920s, the latest release in the Honest Jon's Hayes Archive series is a sparkling late-summer lucky dip, Sprigs Of Time: 78s From The EMI Archive. An eccentric survey of the Hayes shelves, Sprigs Of Time is thirty tracks recorded between 1903 and 1957, everywhere from England (Percy Grainger's recording of the title song, sung by Joseph Taylor in 1908) to Japan (the bewilderingly beautiful "Seigaiha," by the Japanese Imperial Palace Band, five years earlier). Organ rolls from Georgia run alongside Tamils impersonating motorized transport, and rumba from Beirut; '40s fado sits next to the songs of Bengali beggars. As with the other Hayes releases, the tracks have been restored at Abbey Road and are beautifully presented, with extensive contemporary photographs included. There are recognizable names (Joseph Taylor, the incomparable Fairuz, Mighty Sparrow and an uncredited Rubén González, singing lead vocals on "Rumba Negra") and extraordinary oddities (Vengopal Chari's rather unfunny "Laughing" and the peculiarly affecting hand bells of "Gas All Clear"). Taken out of the library and put back on the turntable, every track here is remarkable; every one worth the saving.

V/A- OZ DAYS LIVE 2CD (oz, na)
27.98usd/17.41gbp/21.88eur/2722jpy (approx)


*beautiful new cd reissue of the super-rare 1973 2lp set commemorating 'The 'Oz Days' benefit festival for the owner of Tokyo's legendary Oz Rock Cafe, which had been shut down after one too many drug busts'. Authentic packaging, with hand-stamped outer bag and gatefold insert. The Les Rallizes Denudes and Taj Mahal Travellers sides have been briefly reissued before -- here's the complete picture! Other artists featured here: Miyako Ochi, Acid Seven and Minami Masato.

HARD ROCK AND PSYCHEDELIC


MOUNTAINS- MOUNTAINS, MOUNTAINS, MOUNTAINS LP (catsup plate, usa)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*Mountains, the duo of Brendon Anderegg and Koen Holtkamp, have been making some of the most beautifully epic music of the past four years. The two blend acoustic instrumentation with field recordings, subtle electronics and live sampling to create something otherworldly. You've probably heard a lot of people running acoustic instruments through their computers and are probably pretty bored with that whole concept at this point. The last thing Catsup Plate would foist on the world is another twee laptop-folk project. Mountains is an altogether different entity. The Wire magazine described their music as 'infinite sheets of grainy sound build and renew themselves to immensely pleasing effect,' and that pretty much sums it up for us here at C Plate. Mountains Mountains Mountains, though it feels of a piece, is actually a compilation of sorts. The whole of side B ('Millions Of Time' and 'Hive') constitutes the entirety of a 3" CD-R the band put together for a month-long tour towards the end of 2005. And interestingly, 'The Whale Years,' the album's first track, was improvised in a hotel room in southern Georgia on that same tour (if only all improvisations sounded so beautiful and composed!). 'Nest' was recorded in NYC in late 2007. Those who are familiar with Mountains will notice a more muscular sound on Mountains Mountains Mountains. Much of 'The Whale Years' is built around a phased guitar line that, through manipulation of an unknown sort, takes on an overwhelming celestial grandeur. 'Nest' finds Mountains returning to a fingerpicked acoustic guitar line, but with a ringing urgency that eventually falls away as the side runs out. 'Millions Of Time' is based on a motorik-style repeating sample, upon which the band hangs huge washes of guitar that recall something like the dissonant melodies of early '90s shoegaze or the recent work of Axolotl. And the album ends with 'Hive,' which may be the most forceful piece they have recorded. The first two and a half minutes begin with a ringing cloud of layered guitar picking that dies away momentarily, at which point a howl of dissonance and guitar wail envelops the song, eventually pushing the piece to a monumental drone that is totally unexpected and amazing. Edition of 500 LP-only copies in two color silkscreened sleeves.

BROTHER JT 3- JELLY ROLL GOSPEL LP (drag city, usa)
16.98usd/10.56gbp/13.28eur/1652jpy (approx)


*Brother JT3 is back -- get ready to shake! Shake! Shake! Ever since the 'acid bubble-punk' days of The Original Sins, JT has been a leader in the field of guitar-rock that's good for the soul. Jelly Roll Gospel is the latest jam in the line of house-party blues discs that Brother JT has released on Drag City over the past few years: the thick guitar jams of Way To Go, the acoustic-flavored Spirituals and the roots-rock Hang In There Baby are but a prelude to this latest. The constant for Brother JT3 over the years is a desire to lift you the listener up; to share reflections from a secret life that, for some, constitutes religion (we prefer the term 'spirituality' -- but we're not here to judge -- not!) and to deliver the message in rhythmic but exotic rock n' roll that has the basic necessities to move us -- spiritually, of course, but more to the point -- physically, dancefloor style. Jelly Roll Gospel is no exception to the rule. From the first groove of this long-player, the rhythms are live and relentless, making JT's new soul anthems burst energetically from the speakers in full-spectrum stereo sound. Comprised of bassist Art DiFuria (Photon Band), drummer Jamie Knerr (Psyclone Rangers), and JT, the Brother JT3 deliver their trademark blues-and-roll whomp, shaking everything in sight to keep the beat going -- while weaving in unexpected touches, such as a dub reggae bounce, at several mind-blowing moments. The songs are all finished pieces from the darkly whimsical mind of Brother JT. Whether reacting to the buoyancy of '70s Afro-pop ('Lift You Up'), imagining self-penned songs played on the radio if he were the last man on Earth ('Ribbon Driver'), or examining the darkness and light within and without him ('Bad Vibrations,' 'Do Ya Good,' 'Everything's Alive'), Brother JT's music is delivered with trademark high-spirits and otherworldly flashes of color. In an effort to keep it live and loose, Jelly Roll Gospel was recorded 'at home,' (at Dan's House Studio and JT's 'living room' set-up in Bethlehem, PA), where spontaneous and relaxed vibes prevailed (and the moonshine didn't hurt, either). They're prevailing still -- just drop the needle and you'll see.

RTX- JJ GOT LIVE RATX LP (drag city, usa)
16.98usd/10.56gbp/13.28eur/1652jpy (approx)


*You're cruisin' down interstate X with your hair thrashin' through the t-top . . . all of a sudden JJ GOT LIVE RaTX hits the box like nothing you've heard! Skyscraping power chords . . .'Rainbow High!' Arcing from the walls of solid concrete blocks . . . huge hooks that would twist the biggest shark in the pond . . . you gotta get the record, touch it . . . and lick it up! HEY, Kid, We'll take you to Venice Beach. Body-builders stepping on rats and all that. Roller-bladers. SHIT! Push yourself past the break and ride the wave through the crash. Pounding and pounding. It gets all inside your head. Totally hit me heavy. Like, go big or go home. I mean, I went to high school -- for like a minute! What I learned is that it ain't for me. Since, it's been nothing but tasty waves and the kindness. People talking about it all like it's the end, like we're moving downward. Spirals and shit. But that's not my reality. Some say we do it different, and they're on target. See, we're on cruise control, lookin' straight ahead, knee-highs up on the dash board. Still smokin' indoors. A parallel paradise. Copper-toned hulks and honeys everywhere, down by the pier, chillaxin'. New Wave in California means metallic skies. A luxury everyone can afford. Yeah, JJ GOT LIVE RaTX is the white-hot luxury sound for sure. Jennifer's pipes are smokin' and she's offering no mercy at its finest. The songs got flashy virtuoso drums, full-wave synth sweeps and shred guitar that will knock you on your ass and leave you slobbering for more. And they got more. JJ GOT LIVE RaTX -- you should get some too.

PUNK AND POST-PUNK


THE CLEAN- COMPILATION LP (little axe, usa)
15.98usd/9.94gbp/12.50eur/1555jpy (approx)


*new domestic reissue of this amazing set original available on flying nun… Compilation collects many of the greatest tracks by New Zealand legends The Clean, including songs from their first single and first two EPs. Very catchy pop with the energy and rawness of the best punk rock combined with a strong psychedelic feel. An amazing collection by one of the best bands of all time!

ANIMALS+MEN- NEVER BOUGHT NEVER SOLD: SINGLES + DEMOS 1979-83 LP (mississippi, usa)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*Animals + Men -- named after a song by Adam and the Ants -- started life around the winter of 1978-1979 when Susan Wells took over vocal duties in what was a three piece called Psychotic Reaction. Based in Frome Somerset, their first release Don't Misbehave in the New Age (1980) was an indie hit. When the band split in '81, Susan and Ralph formed the Terraplanes. A & M/Terraplanes released three vinyl 45s. A few years ago, demos by the band surfaced on the Messthetics/Hyped 2 Death label. Recently, the band have reformed and performed the odd gig and are releasing an EP of new songs soon on Convulsive Records. Mississippi Records is proud to be the first to release an entire LP containing the three 45s and early demos, all recorded between 1979-1983. For fans of early UK DIY.

DNA- DNA ON DNA 2LP (no more records, usa)
22.98usd/14.30gbp/17.97eur/2236jpy (approx)


*Previously released on CD by No More Records, now issued on a limited edition 2LP featuring newly-discovered songs exclusive to this LP: "Pompeii," "Shrinking Thing," "Drinking Water," plus two encores from DNA's final performance at CBGB's. Definitive collection of studio and live recordings by New York's seminal no wave band DNA. Surviving two line-ups over a brief period of four years; this highly influential, strikingly original and extremely under-recorded band left a huge void in its wake. Formed in 1978, Brazilian-raised singer/guitarist Arto Lindsay hastily assembled an international trio of non-musicians. Robin Crutchfield played keyboard and Japan's Ikue Mori played drums. DNA played their first gig within weeks and recorded their first 7" shortly afterwards. The ear of Brian Eno was quickly caught, recording them for the infamous No New York compilation alongside James Chance, Mars, and Teenage Jesus & The Jerks. Before No New York was released, Robin left the band after a total tenure of nine months. Bassist Tim Wright had just left Pere Ubu, relocated to NY and quickly joined DNA. With a new face, a new instrument, and a new sound, DNA recorded their classic 9-minute EP A Taste Of DNA. DNA toured the States and Europe, bringing their explosive live show to a wider audience. DNA only released 12 songs during its lifetime, and another 3 shortly afterwards on a European compilation. Their impact was far and wide-reaching. Many musicians have sited DNA as a main influence including Thurston Moore of Sonic Youth and the band Blonde Redhead, who appropriated their name from a DNA song title. This LP compiles all of the studio and many choice live recordings. Of particular interest are the original line-up's "early versions" of "Detached," "5:30" and "Low" (which is closely related to "A New Low"). The unreleased studio tracks "Grapefruit," "Police Chase" and "Young Teenagers Talk Sex" are heard here for the first time, as well as live versions of the unreleased songs "Nearing" and "Surrender." Featuring exclusive liner notes from Byron Coley, Jason Gross and Glenn O'Brien alongside many unseen photos and flyers housed in a gatefold sleeve.

GLOBAL SOUNDS


V/A- DELTA DANDIES: DANCE BANDS IN NIGERIA 1936-1941 CD (savannaphone, uk)
13.98usd/8.70gbp/10.93eur/1360jpy (approx)


*shop favorite restocked… Precious, magical glimpses of a buried tradition, already a century old by this time, when the orchestras typically supplemented guitars, mandolins and percussion with fifes and whatever could stand in for brass. No Fela, no high life without this joyful, open, fertile music, devotedly recovered and handsomely presented again by Savannaphone, with full translations, on a death-defying budget. Ambrose Campbell in the house!

BANDA LOS HIJOS DE LA NIÑA LUZ- DEJALE CORRE 7" (soundway, uk)
12.98usd/8.08gbp/10.15eur/1263jpy (approx)


*Colombian multi-instrumentalist Lisandro Meza has been a key figure of Colombian popular music since 1961, first as a member of supergroup Los Corraleros de Majagual, and then in Banda Los Hijos de la Niña Luz -- the late-'70s band composed of his children and his wife. They played their own style of brass band street music that has its roots in the carnival tradition of Colombia. "Dejala Corre" (1980) is a huge favorite along the Caribbean coast of Colombia and in the interior, too. The flip side features an edit of the final segment of a long medley from a 1980 Los Hijos LP on legendary Colombian label Discos Fuentes. The two pieces featured are "El Sapo" which runs into a unique big band version of Rod Stewart's "Do You Think I'm Sexy (Crees Que Soy Sexy)." This is a tropical dancefloor double-sided bomb and strictly limited to 1000 copies. The record comes in a unique bespoke black printed sleeve on textured high quality manilla card.

V/A- STREETS OF LHASA CD (sublime frequencies, usa)
15.98usd/9.94gbp/12.50eur/1555jpy (approx)


*first of a bunch of sublime frequencies back catalog titles to be repressed/restocked, more to come over the next couple of weeks… Streets of Lhasa lifts us to the high plateau of Tibet where anonymous street balladeers sell folk songs for a living and ghostly voices drift in an ambience of time forgotten. Children, birds, trains, prayers and a traditional temple activity called 'bian jing' (where monks discourse about scripture and punctuate their points by clapping loudly) provide the backdrop for this disc with the folk music of the street taking center stage. These enterprising musicians sing passionate songs and play instruments like the 'Erhu' and the 'San Xian'. The recordings are as clear as the strings of these banjo and violin-like instruments scathed by leather fingers of the high, thin air. Tibet has been under Chinese control for nearly half a century and their leader, The Dalai Lama, resides in exile to the south in Dharamsala India. Buddhism remains of primary importance here and chants of song and prayer are heard throughout the plateau. This ornamental carnival of sound was recorded by Zhang Jian (of the Beijing-based sound collective 'fm3') on the streets of Lhasa, ZhaDa and Shigatse in August 2003. Liner notes written by Steve Barker (ON THE WIRE/BBC).

DUBSTEP AND FUTURE DUB


COTTI/KING SOLY- TRUTH HURTS 12" (soul jazz, uk)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*One of four killer dubstep 12"s (two of which are by Cotti) released on the same day on Soul Jazz Records. Cotti's numerous white label heavyweight dubstep releases (I Don't Give A Dub, Calm Down, Sensi Dub), and his appearances on Soul Jazz Records' seminal Box of Dub albums have made him one of the most in-demand producers of the moment. These two new exclusive cuts are heavy, two-step-digi-steppas, dark dub-influenced cuts with plenty of sound effects and killer bass-lines. Heavy club and radio support from Digital Mystikz, Benga, Skream, Mary Anne Hobbs and more.

COTTI VS CHEFAL- EAT DIRT 12" (soul jazz, uk)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*Second of four killer dubstep 12"s (two of which are by Cotti) released on the same day on Soul Jazz Records. Cotti's numerous white label heavyweight dubstep releases (I Don't Give A Dub, Calm Down, Sensi Dub), his appearances on Soul Jazz Records' seminal Box of Dub albums have made him one of most in-demand producers of the moment. This time joined by Chefal, one of the most-important backstage names in dubstep -- engineer, DJ, record cutter making his debut with this some pure, unadulterated rough dubstep/two-step single. Killer! Heavy club and radio support from Digital Mystikz, Benga, Skream, Mary Anne Hobbs and more.

KALBATA FEAT CLAPPER PRIEST- SOLUTION 12" (soul jazz, uk)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*One of four new dubstep 12"s released on Soul Jazz Records on the same day. Heavyweight dubstep dancehall digital bomb featuring original U.K. dancehall MC Clapper Priest! Following on from Kalbata's earlier first single on Soul Jazz featuring Warrior Queen comes this seriously heavyweight, moody dubstep/dancehall cut featuring the amazing vocals of legendary first-generation U.K. MC Clapper Priest on two killer tracks ? 'Solution' and 'Saxon Londinium.' This single is definitely one of the heaviest tracks you are likely to hear this year! As part of the fast expanding global family of dubstep, Kalbata is 26 year-old Argentinian-born producer/DJ Ariel Tagar who now lives and works between Tel Aviv and London. Kalbata has many releases to his name and this is his second release on Soul Jazz Records.

RAMADANMAN- CORE/DAYRIDER 12" (soul jazz, uk)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*One of four killer dubstep 12"s released on the same day on Soul Jazz Records. This 12" features two exclusive new killer tracks by Ramadanman, one of the shining lights in the new generation of dubstep artists whose releases on Soul Jazz Records' seminal Box of Dub, Bare Dubs, 2nd Drop Records and his own Hessle Audio have shown him to be one of the most-sophisticated producers and artists in dubstep today. These two new tracks continue to push dubstep in new directions with hints of rave, ambient and electronica throughout. Recommended! Ramadanman has performed alongside Digital Mystikz at DMZ, Skream, Benga,, Kode9, Rusko, Plastician and this track is being played by everyone from Skream, Kode9, Benga, Mary Ann Hobbs, Gilles Peterson, Distance, Ikonika and more.

HOUSE, TECHNO AND DISCO


UNKNOWN- BASTARD: A MOUNTAIN OF ONE RE-WORK 12" (WHITE LABEL, UK)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*shop favorite restocked… A Mountain of One's Emotional Rescue-era Rolling Stones-ey(!) edit of 70's rock track 'Bastard' by mott the hoople. limited edition one sided etched vinyl. Get this while you can!

DROIDS- THE FORCE: SERGE SANTIAGO EDITS 12" (arcobaleno, uk)
13.98usd/8.70gbp/10.93eur/1360jpy (approx)


*killer mid 70s french space disco in a smashing 11 min. Serge Santiago edit!

V/A- BALTIMORE CLUB CLASSICS VOL.1 12" (baltimore club classics, usa)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*restocked… Bmore is hot. Between the cult rise of The Wire, labels like Money Studies and Flamin Hotz and DJs like Diplo and Low Budget banging these tracks around the world Bmore seems to be everywhere. The question is, where are the classics on wax? Baltimore Club Classics was created to help fill the void. The first installment comes courtesy of Dukeyman with six of his most famous and sought after productions on one slice of wax!

V/A- BALTIMORE CLUB CLASSICS VOL.2 12" (baltimore club classics, usa)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*restocked… Number two in the series retracing the Baltimore 'club' sound brings you six more tastes from the vast archives of Ron 'Dukeyman' Hall, three featuring Theo, the vocalist best known for his appearance on the club classic "Shorty You Phat,” which appears here. Dukeyman is one of the original OG masters of the club game, along with Scottie B, DJ Technics, Rod Lee, and Diamond K.

V/A- BALTIMORE CLUB CLASSICS VOL.3 12" (baltimore club classics, usa)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*restocked… DJ Technics drops six of his most in demand Bmore mashes that look towards Motown and 60's black american pop for *ahem* inspiration... Diana Ross & the Supremes, the Marvelettes, you get the idea!

V/A- BALTIMORE CLUB CLASSICS VOL.4 12" (baltimore club classics, usa)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*restocked… Six more Bmore classics from the vaults. Check the web, these tracks appear far and wide on tracklists and blogs from Ayers, IHeartComix and many more. These are cut from Technics' personal archives and we guarantee perfect party action whether you bang these in the club, or the bedroom.

V/A- BALTIMORE CLUB CLASSICS VOL.5 12" (baltimore club classics, usa)
11.98usd/7.45gbp/9.37eur/1165jpy (approx)


*four more bmore classics from the vaults from one of the hardest hustlin’ producers in town, host of the Diamond K show, Da Horsemen, Pimphouse Records, and the documentary “Club Music Is The Future.” DJ Diamond K's history with Baltimore club music goes way back over a decade, when he was making tracks for Frank Ski and Miss Tony, and he's still doing it now with his own label, High Rolla Records.

GONNO- I DON'T NEED COMPETION 12" (beyond, uk)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*Another unknown, unexpected, magic and mystical white label series. Beyond is an interstellar trip to Chicago/Detroit/Chicago by (that's all we know) a new young Japanese mastermind called Gonno and remixed by none less than Irish techno hip priest Donnacha Costello. The four tracks are deep intense and kicking, reminiscent to early Ront Trent, Chez Damier and Nu Groove with a hint of Ivan Iacobucci or Caucasian Boy mixed in but innovative and not a rip off. Beyond is modern class of 2008 deep house as we want it -- open and airy, produced but with thick drums, net bass and slightly pitched dusted atmospherics that bring mind and body together as one heavy dancing unit. Beyond galore!

DJ HARVEY- LOVE HOTEL EP 12" (black cock, uk)
17.98usd/11.19gbp/14.06eur/1749jpy (approx)


*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Track A is a re-edit of The Mighty Clouds Of Joy - Everything Is Love on ABC Records.

DJ HARVEY- LOVE HOTEL EP2 12" (black cock, uk)
17.98usd/11.19gbp/14.06eur/1749jpy (approx)


*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Track A is a re-edit of Paul Mauriat - Love Is Still Blue. Track B is a re-edit of the Silver Apples - Lovefingers.

DJ HARVEY- FROG SCENE 12" (black cock, uk)
17.98usd/11.19gbp/14.06eur/1749jpy (approx)


*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Side L is a re-edit of Mother's Finest - Dis Go Dis Way, Dis Go Dat Way.

EXTRAWELT- SCHÖNE NEUE EXTRAWELT 2LP (cocoon, germany)
22.98usd/14.30gbp/17.97eur/2236jpy (approx)


*This is the debut full-length by Hamburg's Arne Schaffhausen and Wayan Raabe aka Extrawelt. The duo describe the aesthetic of Schöne Neue Extrawelt thusly: "It's all about hooking up our music to the emotional world of electronic music at the beginning of the '90s, however, without falling for nostalgic references. We don't want to do cowardly zeitgeist techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution and kaput-ness, all these are parts of the Extrawelt." Extrawelt have been unmistakably imprinting the last three years' club sound with widely-noticed releases on Border Community (Sooper Track), Traum Schallplatten (Doch Doch) and Cocoon Recordings (Titelheld) as well as with remixes for Gregor Tresher, Minilogue and Alexander Kowalski. Work on this record began more than two years ago: "The initial idea was to present an album covering all styles of electronic music between ambient, breakbeats and techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo 'Kurt Curtain.' We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly our focus ... but our intention was definitely not to deliver an album full of superficial peak-time hits." These 12 tracks represent a pleasurable "in-betweenness," the organic development of hypnotically compressed dance music that is more than just minimal techno, reduced trance or electronic circa Warp-era. From the richly decorated musical clock intro of "One Tree Hill" to the stereo singing bowl of "Trümmerfeld," to the Asian-sounding creaking of "Daten Raten," Extrawelt celebrate a vision of futuristic melancholy with organically detailed richness that is permanently in motion, but is nevertheless well-balanced.

TIMO MAAS- SUBTELLITE 12” (cocoon, germany)
13.98usd/8.70gbp/10.93eur/1360jpy (approx)


*DJ Timo Maas has made remixes for Depeche Mode, Madonna, Kelis, etc., and has a lot of pop in his veins. Together with his studio partner Sante Pucello, Maas sets new standards in the art of adrenaline release within the clubbing underground. "Subtellite" shines with a deep hypnotic bass rotor and ample percussion, picking up some small organ and a Flamenco guitar en route. When the bass drum returns after the breaks, there is no holding back anymore.

SEBBO/MORITZ VON OSWALD- WATAMU BEACH 12" (desolat, germany)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*restocked… A very interesting little proposition here, what would Quadrant's classic Q 1.1 sound like if mixed with a sweet square bassline and semi religious chanting? Well, a bit like this killer effort from the fantastically named Sebbo aka Sebastian Suckfüll for Locodice and Martin Buttrich's Desolat imprint. Sebbo's original version of 'watamu beach' is a vital slice of dancefloor alchemy, marrying some classic dancefloor elements into a thoroughly enjoyable whole, while on the flip, the godfather of deeper dub house, Moritz Von Oswald gives us a masterclass is suave dancefloor perfection. Von Oswalds remix is predictably something to behold, taking a similarly opiated option as his rework of 2raumwohnung's 'ich bin der regen' or Tony Allen's 'Oye', he succinctly blends in a distinct Afro-percussive flavour to the rhythm while creating an opulent and palacial atmosphere, populated with gently rising currents of the warmest analog synth pads and heart rending chord changes in his inimitable style. Awesome. -boomkat

LOW MOTION DISCO- THE LOW MURDERER IS OUT AT NIGHT 12” (eskimo, belgium)
13.98usd/8.70gbp/10.93eur/1360jpy (approx)


*Swiss act Low Motion Disco present The Low Murderer Is Out At Night. UK-based Mark E delivers a hypnotic remix that reflects his Detroit Beatdown influences and midtempo boogie inclination. St. Petersburg's Andrei Zakharov (aka AN-2) goes down a more disco-tinged route for his remix. His version of "The Low Murderer Is Out At Night" brings some more funk to the proceedings and provides another new shade to this varied release.

KLEIN & M.B.O.- DIRTY TALK: GREG WILSON EDIT 12" (flexx, belgium)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*shop favorite restocked… Arguably one of the pioneering records that linked disco to what is known nowadays as house music. We've included the original vocal mix - for the first time on a 12" (we might be one of the few who really love the vocals), the previously unreleased USA/European Connection Instrumental Mix - a variation on it's most popular Usa connection mix. Plus an exclusive version by legendary DJ and edit don Greg Wilson. Greg Wilson says: " 'Dirty Talk' was a huge track for me on the Electro-Funk scene back in '82. I was the first DJ to start playing this in the black clubs as an import on Zanza and it soon became the biggest track at my nights at Legend in Manchester and Wigan Pier (it was also quite controversial, as the purists on the scene thought that this shouldn't be played). The Hacienda had only just opened and the DJ there, Hewan Clarke, picked up on it - it was as a result of hearing Hewan play it that New Order borrowed the record from him and used it as one of the templates for 'Blue Monday', which they were working on at the time.” Essential classic.

V/A- LES EDITS DU GOLEM 6 12” (golem, france)
15.98usd/9.94gbp/12.50eur/1555jpy (approx)


*The Golem is off on another hot and sweat-drenched musical excursion, this time with a.l-t.'s (Alexis Le-Tan of Permanent Vacation fame) Summer outtings. Get ready for a hedonistic trip around the world: balearic disco galore at the 'Eden Rock' in antibes, tropical afro disco at 'La Toubana' in Guadeloupe and finally some Pakistani infused reggae disco at 'Islamabad Serena'.

REBOOT- ASSIGN THE SOURCE 12" (motivbank, uk)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*New house label with a superb release by Reboot!

MARGARET DYGAS- SEE YOU AROUND 12" (non standard productions, germany)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*See You Around is the second vinyl release by Margaret Dygas and first on Non Standard Productions. This 12" is a warm combination of healthy and mellow yet solid beats combined with rough, shredded guitars. You'll be hearing round edges as much as square, bubbled sounds and psychedelic synths traveling through out both tracks. Tobias Freund was responsible for the production and the additional analog mixdown treatments. All in all, a record that follows the idea of Non Standard Productions.

ODD MACHINE- WE BROUGHT OUR FRIENDS 12" (non standard productions, germany)
14.98usd/9.32gbp/11.71eur/1457jpy (approx)


*restocked, but out of print from the label… ricardo villalobos and tobias freund (of nsi) production. extended tripping modern house tracks!

MFP- MFP CD (non standard productions, germany)
15.98usd/9.94gbp/12.50eur/1555jpy (approx)


*restocked… electronic drones by mfp aka tobias aka (half of) NSI.

SASCHA DIVE- DEEPEST AMERICA: MOODYMANN REMIX 12” (ornaments, germany)
15.98usd/9.94gbp/12.50eur/1555jpy (approx)


*Next strong limited vinyl on this mysterious label includes a moodymann remix… pressed on clear, black-swirled vinyl.

MARKO FURSTENBERG- SELECTED REMIXES 12” (ornaments, germany)
16.98usd/10.56gbp/13.28eur/1652jpy (approx)


*restocked… ornaments wants to publish special collector's items in a strong limited vinyl only series with a really personal vibe. The first record is from Marko Fürstenberg (A.R.T.LESS / Thinner) and he presents 3 unpublished remixes of nice dubby soundtracks for the 21 century which are perfect for the open air season. Be fast! Only a few hundred copies! Pressed on clear, black marbled vinyl.

LOW LOW- UNTITLED 12" (same soul different body, usa) 9.98usd/6.21gbp/7.80eur/971jpy (approx)

*Low Low is a source of the unexpected: robotic and dark electro disco meets leftfield Chicago house and Detroit techno, his sound is brought to life using this heritage and it’s ancient techniques. We Say.. just check the b side.. thats worth your money!

HIEROGLYPHIC BEING- THE SECRET LIFE OF WATER 12" (same soul different body, usa) 9.98usd/6.21gbp/7.80eur/971jpy (approx)

*restocked… Excellent basic Chicago rhythm tracks. Some thight grooving cuts here that bring back the feeling of old analogue house tracks.

L.S.B. EDITS- SUPER DISCOTECA VOL.2 12" (superdiscoteca, spain) 13.98usd/8.70gbp/10.93eur/1360jpy (approx)

*L.S.B. Edits return for the eagerly awaited second installment of peaktime dancefloor edits. First up is a rework of Italian producer Toni Esposito's uber rare "Je-Na," a midtempo percussive monster already tried and tested by the L.S.B. team in the last few months...a version that works at any moment of the night! On the flip, "NY Attitude" is an extended and beefed up version of a little known Chic groover from 1980, another seriously heavyweight midtempo cut, and big favourite of legendary Parisian radio station Nova, back in the day.

PH EDITS- STANDING IN THE RAIN/SHOUT 12" (superdiscoteca, spain) 13.98usd/8.70gbp/10.93eur/1360jpy (approx)

*restocked… Delivering top quality dancefloor reworks cut for better quality and maximum disco use, on this first 12inch of the series is a killer disco rework, an instrumental edit of Don Rays 1978 cut 'Standing In The Rain', plus on the flip some old school acid house, a re edit of the classic 87 Adonis production Jack Frost and The Circle Jerks 'Shout'.

MAGAZINES AND BOOKS


BIXOBAL- #5 MAGAZINE (bixobal, usa)
3.98usd/2.48gbp/3.11eur/387jpy (approx)


*The No-Neck Blues Band's Dave Nuss recalls his time with The Source Family which led to the first Yahowa 13 performance in New York City and their new LP. An extensive interview with reformed Vancouver noise band Tunnel Canary by Allan MacInnis. A remembrance of Noggin violin player Michael Griffen by his friend Aaron Gorseth. A feature on the Belgian group Onde featuring former members of Noise-Maker's Fifes. A feature on the new label Assophon, home to The Sea Donkeys, Spider Trio and Factums. Eric Lanzillotta's reviews of vinyl, compacts discs, and books, both new and old. Patrick Marley's column Nickels and Dimes.

GIFT CERTIFICATES


gift certificates are always available in any denomination and come in a envelope ready to be stocking stuffed, slipped into pockets or dispensed in any way you see fit. they can be paid for in cash, credit card (visa, master card or discover) or paypal in person, phoned in or via email. gift certificates not paid for in person can either be mailed to you, or we can keep it in shop if the recipient plans to use it for mail-order.

ADDRESS


tequila sunrise records
525 w. girard avenue
(btwn 5th and 6th streets)
philadelphia, pa 19122


SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard/3rd-4th st; 47 to girard/7th-8th st.


MAP


t/us: 1215 965 9616
t/uk: 0203 004 8357
e: ajv@tequilasunriserecords.com
u: www.tequilasunriserecords.com
m: www.myspace.com/tequilasunriserecords
b: www. tequilasunriserecordshop.blogspot.com
f: www.brownstoner.com/brooklynflea/


HOURS


monday: closed
tuesday: 12:00-6:00pm/est
Wednesday: 12:00-6:00pm/est
thursday: 12:00-7:00pm/est
friday: 12:00-7:00pm/est
saturday: 12:00-6:00pm/est
sunday: 12:00-6:00pm/est