TEQUILA_SUNRISE_RECORDS

NEW ARRIVALS/RESTOCKS FOR THURSDAY, AUGUST 26

2010-08-27T09:26:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, AUGUST 26

thanks for looking.

great records keep on coming, check out the goods below or for maximum reward, stop by the shop and check them out in person… as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

as always, many of these titles are in very limited quantity, so if you're interested in anything listed below and can’t make it to the shop you can make a purchase via paypal or over the phone with a credit card and pick them up later or have them shipped (see more information below). i will no longer hold records. sorry.

prices are subject to change without notice.

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. orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.

ROCK AND PSYCHEDELIC

NGOZI FAMILY- 45,000 VOLTS LP (nosmokerecords, portugal)
34.98usd/20.94gbp/23.22eur/3063jpy (approx)

*shop favorite repressed… Stunning, rare as hell album from the rich Zambian 'Zamrock' scene from the '70s -- have you ever heard of this record before? The Ngozi Family (Ngozi means danger, and dangerous is their music indeed!) were also the band backing for Chrissy Tembo on his now well-known My Ancestors album. They released this one in 1977, and you'll be amazed when you hear it if you're somehow into Hendrix, Black Sabbath, heavy psychedelia or Afro psych-rock. Most of the tracks on the LP follow that direction, and the rest enter the Afrobeat sound -- but most of it is fuzzy, heavy psych-rock as you can expect.

PUNK AND POST PUNK

CHIN CHIN- SOUND OF THE WESTWAY LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… In 1985, Sound Of The Westway was released on Chin Chin's own Farmer Records. As a progression from their first 7", SOTW proved to be a brilliant mix of post punk and pop sensibility. The band's fierce DIY stance and girl-positive ethics have echoed down through the indie scene. Mississippi and Slumberland are excited to collaborate on this classic reissue. On vinyl only, remastered by Tim Stollenwerk and new original artwork by Alec Icky Dunn. Includes free download card.

DOG FACED HERMANS- MENTAL BLOCKS FOR ALL AGES LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Dog Faced Hermans was a five-piece band whose style could be described as anarcho-artpunk incorporating folk and noise influences as well as unorthodox instrumentation. Hailing from Scotland, DFH came out of the herky-jerky Glasgow scene with bands like Stretchheads, Dawson and Archbishop Kebab. Mental Blocks was their 2nd full length LP, released in 1991 on the band's own Demon Radge label. They had 3 LPs, 1 12" EP and a collection of EPs, comp tracks and splits before signing on with Alternative Tentacles for their last two LPs. Guitarist Andy Moor has been a part of The Ex for about 12 years now, and bassist Colin McLean is now playing as part of The Ex's live set. DFH has influenced bands such as Erase Errata, Veronica Lipgloss, God Is My Co-Pilot, and many more. Mental Blocks is considered one of their (if not the) best and hardest to find albums. Remastered by members of the band for improved clarity over the original release.

DOG FACED HERMANS- HUM OF LIFE LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… When we put out the Mental Blocks For All Ages, the obvious question from everyone who excitedly plopped down their nine bucks on our glass counter was, 'Are you gonna put out Hum Of Life?' So here it is, the follow up to Mental Blocks. Recorded in '93, DFH lays down 11 tracks of thumping drums, pulsating bass lines, most unusual guitar squacks and Marion Coutts belting out enchanting melodies with voice and her trusty trumpet. 8 Eyed Spy and Ornette Coleman covers (it's legit, I swear) complete this perfect album of political art-punk at its best.

FUNK AND SOUL

JAMES BROWN- KING HEROIN 7” (white label, usa)
7.98usd/4.78gbp/5.30eur/698jpy (approx)

*'King Heroin' is one of James Brown's finest moments, at the time an urgently needed reality check on the growing heroin crisis swallowing much of inner city America, and appreciated today as one of the most breathtaking pieces of haunted funk and conscious soul ever released. Reissued here in all its glory, and featuring the impossible-to-find instrumental reprise on the B-side, 'King Heroin' once again hits the streets to combat the uncertainty of post-civil rights era urban malaise. Much more than a 'message' record, more than a few of which James Brown and company put out with preachy fervor, 'King Heroin' holds no bars in its blunt reviews of addiction and its painful fallout, all from a man who himself struggled with the beast inside for decades. Beyond the sweet irony remains one of the most disturbing and starkly beautiful down-tempo soul records ever, a perfect encapsulation of a lost era only dreamt of in weak blaxploitation Technicolor vision today. An essential piece of eternal soul history. Housed in a repro King Records sleeve.

JAMES BROWN- SUMMERTIME/MESSAGE FROM THE SOUL SISTERS 7”
(white label, usa)
7.98usd/4.78gbp/5.30eur/698jpy (approx)

*High quality 7" reissue highlighting another side of James Brown, far from the up-tempo feel good funk of the Godfather. A stunning rendition of the Jazz standard 'Summertime' is evoked here by Brown and Martha High within the context of 1970s social fallout -- 'Winter In America' to use Gil Scott-Heron's language, a political immobility that cast its shadow over the entirety of the United States. Brown & High take the leisure-jazz of 'Summertime' and turn it on its head in an act of realist defiance. On the flip, 'Message From The Soul Sisters Pt. 1 & 2' is a more familiar funk workout from yet another Brown produced female vocalist, Vicki Anderson, delivering her sassy soul masterpiece with impeccable instrumental backing from the ever prestigious J.B.'s. Overall, another 2 essential soul cuts from the master himself available once again for aural and contemplative consumption.

V/A- GOSPEL FUNK LP (secret stash, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*In 1959, a woman by the name of Carmen Murphy attended a Good Friday mass in her home town of Detroit as she did every year. Ms. Murphy, the proprietor of the city’s first salon for black women, known as House of Beauty, found herself particularly moved by the musical performances that evening. In fact, she was so inspired that she decided to convert the basement of her salon into a rehearsal space for local gospel acts. Later that year, she funded the recording of local gospel star Rev. James Cleveland, and House of Beauty Records was born. Over the years House of Beauty was owned and operated by a number of different parent companies. It was during it’s time at Scepter Records in New York (’64-’76) that the label grew both commercially and creatively. It slowly transformed from a rigidly traditional label, mostly featuring a capella quartets and choirs, to a company with eclectic tastes and broader musical horizons. Throughout the 70s the label became more accepting of secular influence on its music and slowly but surely, some of the recordings became straight up funky. In the fall of 2008 Secret Stash began working with a local business man who acquired the House of Beauty catalog some years back. Our mission was to sort through his mountain of master tapes containing over 3,000 tracks in search of rare funky and soulful gems for vinyl reissue. After hundreds of hours we settled on a short list of material to press up on wax. However, shortly after an agreement was reached for the first small batch of releases, the local business man was raided by the FBI and charged with felonies for his involvement in a ponzi scheme. The catalog has since gone into receivership (for the second time in its existence) and no more licenses have been executed. It saddens us to say that the future of this amazing collection of music is unclear at this time. Gospel Funk may sound like an oxymoron to some, however, in the late 60s and throughout the 70s, many Gospel artists began moving their sound in a funkier direction. When you think about it, it’s really not that hard to imagine. Most of us know that soul music is deeply rooted in gospel. Sam Cooke, Aretha Franklin, Al Green, and even James Brown all hail from the world of gospel music. Is it really unimaginable that the gospel community would latch onto the progression of soul music that took place in the secular market? This collection of Gospel Funk is raw, gritty, and packed full of breaks. The compositions are tastefully simple, the production is organic, and the music is undeniably funky.

V/A- SOVIET FUNK VOL. 1 LP (secret stash, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*During the 1960s and 1970s funk music spread throughout the planet. The funny thing is most Americans didn’t even realize this until the 90s or later. Over the past couple decades, slowly but surely more and more rare funk gems have been unearthed from all corners of globe; Africa, China, Latin America, and now Russia. This collection of SOVIET FUNK was all recorded by Pavel Sysoyev in Abakan, the capital city of Khakassia between 1971 and 1976. Sysoyev was an employee of the USSR State Committee for Television and Radio Broadcast (state controlled media). He ran a recording studio intended to create content solely for the government media entity. However, Sysoyev frequently brought in his friends and would run late night recording sessions when no one else was around. In spite of the loosened restrictions on art and music during the 70s, most Soviet citizens had very limited access to essential American funk records. Sysoyev acquired a small collection of U.S. R&B and Jazz albums in ‘68 from a friend, but that was about it for him and his friends. Yet somehow, this small group of classically trained musicians was able to forge a funky sound of their own. Rooted much deeper in the jazz quartet tradition than the R&B styling of James Brown and The Meters, they tapped into a way of playing jazz with a relentless groove that we endearingly refer to as funk.

V/A- SOVIET FUNK VOL. 2 LP (secret stash, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*After Secret Stash Records struck a deal with Pavel Sysoyev to mine his catalog of recorded music we quickly realized that the most difficult part was going to be narrowing down his massive collection into a few user friendly volumes of LP releases. With so much incredible music to work with, this would be no easy task. Volume 1 ultimately served as a nice introduction to Mr. Sysoyev’s catalog. For the most part it was extremely “user-friendly” and accessible (the only exception possibly being the Chizhova/Baykov tunes, which took a pretty big step “outside the box”). While it was what we considered to be an amazing record, it only scratched the surface of the musicality and creativity found in his collection. However, Volume II takes a closer look at the more jazz infused side of Pavel’s signature Soviet Funk sound. It includes more complex compositions and a much more aggressive playing style. However, it still maintains that groovy fun spirit captured so well in Volume 1. In spite of the loosened restrictions on art and music during the 70s, most Soviet citizens had very limited access to essential American funk records. Sysoyev acquired a small collection of U.S. R&B and Jazz albums in ‘68 from a friend, but that was about it for him and his friends. Yet somehow, this small group of classically trained musicians was able to forge a funky sound of their own. Rooted much deeper in the jazz quartet tradition than the R&B styling of James Brown and The Meters, they tapped into a way of playing jazz with a relentless groove that we endearingly refer to as funk.kov tunes, which took a pretty big step “outside the box”). While it was what we considered to be an amazing record, it only scratched the surface of the musicality and creativity found in his collection. However, Volume II takes a closer look at the more jazz infused side of Pavel’s signature Soviet Funk sound. It includes more complex compositions and a much more aggressive playing style. However, it still maintains that groovy fun spirit captured so well in Volume 1.

ROOTS

SON HOUSE- GRINNIN' IN YOUR FACE/JOHN THE REVELATOR 7”
(biograph/slow to speak, usa)
7.98usd/4.78gbp/5.30eur/698jpy (approx)

*A beautiful example of the precursor to the mass-recording era, this limited 7" pressing of blues legend Son House provides a rare glimpse into real American folk music. Before every facet of our musical world was commodified and marketable, working people's lives were predominately narrated by song, the central nerve center of consciousness, history & culture. Haunted by slavery, segregation and racial hatred, black communities of the South nurtured the blues into existence from a deep psychic pain that demanded an especially rigorous cultural processing, using song as a positive affirmation of existence and power. These prototypical recordings of Son House's weathered, sorrowful blues standards, sung without instrumentation, are two of the most stunning examples of the urgent imperative of early blues music. Tinged with a tangible sadness and the knowledge of a veritable sage, these songs testify to the cathartic power of a music created for far more than the decadent superficialities of modern industrial societies, providing a historical document of the foundations of so much American music to follow and suggesting that the infinite possibilities provided by technology have not expanded on the basic purpose of music and artistic expression.

V/A- WAVE THE OCEAN, WAVE THE SEA LP (mississippi, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*"People were saying that Southern folk song was dead, that the land that had produced American jazz, the blues, the spirituals, the mountain ballads and the work songs had gone sterile." -- Alan Lomax, 1960. In 1959 and 1960, at the height of the Folk Revival, Alan Lomax undertook the first-ever stereo field recording trip through the American South to document its still thriving vernacular musical culture. He traveled through Virginia, Kentucky, Tennessee, Alabama, Mississippi, Arkansas, Georgia, and North Carolina, making over 70 hours of recordings. The trip came to be known as Lomax's 'Southern Journey,' and its recordings were first issued for the Atlantic and Prestige labels in the early '60s. Those, however, as well as subsequent releases on New World and Rounder Records, are now all out of print. To remedy this, and to celebrate the Southern Journey's 50th anniversary, Mississippi Records and the Alan Lomax Collection have collaborated on five commemorative LPs, spanning the breadth of Lomax's '59-60 Southern recordings, drawing on new transfers of the original 1/4" tapes, and featuring a considerable amount of previously unreleased material. The five LP volumes feature singing siblings Hobart Smith and Texas Gladden from Saltville, Virginia; menhaden fishermen's chorus the Bright Light Quartet; the Young Brothers' Mississippi Hill Country fife and drum band; Blue Ridge instrumentalists Wade Ward and Charlie Higgins; Bessie Jones and the Georgia Sea Island Singers; work songs and hollers from Parchman Farm; congregational hymns from African American and white Appalachian meeting-houses; Alabama's singing washerwoman Vera Ward Hall; the 1959 United Sacred Harp Convention; and the debut recordings of bluesman Fred McDowell, among much else. Each volume is being sold separately with its own distinctive packaging. All come with a 12-page booklet featuring many never before published photos. Old school tip on sleeves & beautiful sound. Not to be missed!

V/A- WORRIED NOW, WON'T BE WORRIED LONG LP (mississippi, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Second installment in the Field Recordings From Alan Lomax's "Southern Journey", 1959-1960 series, featuring recordings from blues singer Sidney Carter, seventy year-old Norman Edmonds, Rosa Lee (or Rosalie) Hill performing on Fred McDowell's porch, two Mississippi gospel groups, the United Sacred Harp Convention in 1959 Alabama, the first-ever recordings of the fife and drum music of the Mississippi Hill Country and The Bright Light Quartet, a group of fishermen recorded in Virginia in 1960.

V/A- I'LL MEET YOU ON THAT OTHER SHORE LP (mississippi, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Third installment in the Field Recordings From Alan Lomax's "Southern Journey", 1959-1960 series, featuring recordings from Fred McDowell, Carlos "Bookmiller" Shannon's rendition of "The Eighth of January" (another variation of which -- "The Battle Of New Orleans" -- was a Billboard charting hit by Johnny Horton in 1959), a medley of classic African American spirituals by Virginia's Union Choir of the Church of God and Saints of Christ, lined hymns from Kentucky's George Spangler and a Baptist Church congregation, Ozark balladeer Neal Morris, work songs from Mississippi State Penitentiary, a previously unissued version of "Moses Was A Servant Of The Lord" performed by Charles Barnett (vocal and washtub) and Arkansas' Almeda "Granny" Riddle performing "Rainbow Mid Life's Willows," based on a British broadsheet originally published in 1631.

V/A- I'LL BE SO GLAD WHEN THE SUN GOES DOWN LP (mississippi, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Fourth installment in the Field Recordings From Alan Lomax's "Southern Journey", 1959-1960 series, featuring recordings from Blue Ridge instrumentalist Wade Ward performing alongside an eighty-one year old Charlie Higgins, sought-after Mississippi church singers James Short and Viola James, more from Fred McDowell ("Woke Up This Morning"), a locally composed religious piece written from words spoken by Mountain View, Arkansas resident Joseph Looney while on his deathbed, Hillsville, Virginia's The Mountain Ramblers, spiritual singers from the Georgia Sea Island of St. Simons and banjo master Hobart Smith's "Banging Breakdown."

V/A- I'M GONNA LIVE ANYHOW UNTIL I DIE LP (mississippi, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Fifth installment in the Field Recordings From Alan Lomax's "Southern Journey", 1959-1960 series, featuring recordings from North Carolina's Mountaineers, migratory labor songs from fishermen The Bright Light Quartet, a stark religious meditation on the end of days from Virginia service station owner E.C. Ball, Bessie Jones (later a touring performer) singing the spiritual "Daniel In The Lion's Den," an evening worship service at a Pentecostal Temple in Memphis, Emma Hammond's dance tune "Shout Lula," an excerpt from Alabama religious radio testimony and music performed on caned panpipes (or quills) at a country picnic in Senatobia, Mississippi.

GLOBAL SOUNDS

V/A- THE WORLD ENDS: AFRO ROCK & PSYCHEDELIA IN 1970S NIGERIA PART 1 3LP (soundway, uk)
34.98usd/20.94gbp/23.22eur/3063jpy (approx)

V/A- THE WORLD ENDS: AFRO ROCK & PSYCHEDELIA IN 1970S NIGERIA PART 2 3LP (soundway, uk)
34.98usd/20.94gbp/23.22eur/3063jpy (approx)

*Deluxe gatefold triple LP versions in two parts. Includes two vinyl-only bonus tracks not included on the cd version. The World Ends is the latest title from Soundway Records showcasing a wave of guitar-driven and psychedelic groups that sprung up in Nigeria during the early 1970s. Featuring 32 electrifying and funk-laden grooves, this is the sound of a generation attempting to pick up the pieces after the devastation of the Nigerian civil war. Spread over 2 CDs, this bumper collection is brimming with youthful exuberance, fuzzed-out guitar and cosmic organ vibes and owes much to the psychedelic sounds of Jim Morrison, Santana, Jimi Hendrix, Jefferson Airplane and James Brown. As the Summer of Love was blossoming in London and San Francisco, Nigeria was imploding into civil war. Also known as the Biafra War of 1967, it was a grisly conflict taking over three million lives, yet at the same time the country was being pulled apart, there was a new world beginning. The tracks featured represent a forgotten chapter in Nigeria's musical history when the youth threw their varied morsels into the pot, from hard rock to psychedelic soul, when guitars were cherished instruments, symbolic of a new movement, when highlife and Afrobeat played second fiddle to "the beat."

DISCO

PLASTIKMAN- CONSUMED/PAKARD 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Two Richie Hawtin classics - "Consumed" and "Pakard", on one handy platter...

PLASTIKMAN- PLASTICINE/KORRIDOR/LASTTRAK 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Classic Plastikman reissued!

DA POSSE- ITS MY LIFE 12” (clone classic cuts, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Clone Classic Cuts continues to dig in the crates to bring back forgotten or obscure records from the past! This is 3 tracks by Da Posse (produced by Hula... one of the Outthere Brothers... and with Maurice Joshua, K Fingers & Martell). Strings & Its My Life are Chicago's take on Detroit techno... a rare release that sounds like a early Derrick May record (think 'The Dance') but maybe slightly more straight forward (as one might expect from Chicago). A rare piece in house and techno history since this is one of the rare examples of a record that doesn't show the clear difference between Chicago and Detroit in the late 80's. This record most likely got produced within 1 year after Rhythm = Rhythms legendary Nude Photo and Strings of Life releases (both '87 and this came out in '88). As extra bonus track we have The Groove. A phat bass driven chicago acid track that still rocks it. Another fine piece of powerful dance music history back in the spot light!

FINGERS INC./ROBERT OWENS- I'M STRONG 12” (clone classic cuts, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite restocked… All time favorite house track by Larry Heard, Mr Fingers and Robert Owens! A one of a kind track with a totally unique groove and a bass line not coming from this world. The DX sound that makes the track so powerful sounds like some kind of mutant machine that is going wild and the sublime combination with the Robert Owens vocals makes this a high light in the history of house music!

REGGIE THE MOVEMAKER/HOUSE TO HOUSE- GET YOUR MONEY MAN/TASTE MY LOVE 12” (clone classic cuts, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite restocked… Two absolutely amazing Chicago house classics produced by the masters of the masters... and out of print since 1987 (almost 20 years!!!). House to House (ft Kim Mazelle) is actually Marshall Jefferson with one of the greatest tracks he ever made! A deep driving vocal house track that couldn't be better. The soulful vocals are performed by a young Kim Mazelle and make you shiver!! And the other masterpiece on this plate is from Farley Jackmaster Funk (joined by Reggie the Movemaker). He produced a jacking house track for Reggie (but we are not really sure if this Reggie really exists). This track still creates a stir on the dance floors and makes the hands go in the air when the bassline kicks in! A piece of forgotten music history. Must have!

JELLPHONIC FT ZACKY FORCE FUNK- 100 SNAKES 12” (clone crown ltd., netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Clone Crown Limited's first one! Its Jellphonic and Zacky Funk Force throwing some bad ass dirty p-funk influenced tracks so sick that we had to put them out! A-side cut 100 snakes rocks it like The Neptunes could do... dirty and effective! On the more softer side we have Sexxxy that is sexy as freaky can be. Both tracks has ZFF on the mic (backed up by Reggie Blount and St Liquor-ish). And let's not forget the Only One! The best cut in years (and for sure on this record) if you are into love songs. Serious heat from these Funkateers!

ZACKY FORCE FUNK & KUTMAH- FUKK 12” (clone crown ltd., netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Mr Force Funk is coming hard! Fukk he produced with his buddy Kutmah mixed up with own jams and other collabs... Its his first tracks on wax!! Crazy ass shit that can't be categorized (but i'm sure some stubborn journalist will come up with something to avoid he is getting confused). Fusing p-funk, electro, disco, electronix, rap and everything dirty, pure and with soul! Oh and for the trainspotters... yes that is an old obscure Legowelt track used for Split!

REGGIE BLOUNT- HARD TIMES 12” (clone crown ltd., netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Reggie Blount is one cool fucker doing some great p-funk electro tracks as one would expect to hear from Midnight Star, Morris Day and the Time, Bootsy Collins and the many unknown early 80's unknown electro funk boogie funkateers. Heavily influenced by the underground electro-boogie style of the early 80's as well as more known artists such as One Way, Kashif, Mtume, Cameo, and Parliament. Reggie Blount brings together the elements which led these styles to the forefront of the club scene at a time when drum machines and synthesizers were giving birth to the bedroom recording artist. Mr Blount offers up some heat for your funk bone on his long anticipated debut ep! As with all Crown Limited releases only two manufacturing runs... one is pre-orders only... two is when prices go crazy in the 2nd hand market. So make sure you'll pre-order this in time!

STEVE SUMMERS- JACK FLASH 12” (clone jak for daze, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

* Back to jack with Steve Summers... his debut release was the big surprise for everyone... the best vintage (acid) house tracks we could wish. And more of that intense classic house music on the follow up. Here in our office we have people shouting rewind rewind and flashing the lights on and of as fast as possible when we play this! A must have for all fans of Larry Heard, Joe Lewis etc. Big Tip!

REGGIE DOKES- CHICAGO PIMP 12” (clone loft series supreme, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Clone V2.0! Clone back in its new form.. a series of specialized series dedicated to different functionalities, emotions and styles of electronic music. The Clone Loft Series will be releasing more traditional house and NY influenced disco for the smaller and more intimate club settings. First of Reggie Dokes with probably his best release so far! A-side is a dirty but massive house track that goes down very well in any house set! At first notice this might be the main track... which most likely it is for more peak-time use... but actually our favorite is the fierce 'I Wear the Mask' track on the flipside. This track has a nice jumpy beat, very light... but such a balanced rhythm that it will grab one for sure. On top it has layers of strings and a bouncy bassline and very staccato keys... and everything is so well balanced, so sensitive that it really gives us goosebumps all over! It reminds even to some Derrick May tracks where he managed to make his songs emotional and fragile with the same kind of timbre and hidden energy (but then less 909 orientated and such...) It has that force, that gentle force of magic that frees that inner energy, that inner power that makes you wanna dance. What a stunning track and what a strong release by Mr Dokes. Essential!

PUTSCH 79- SAMASAVEL: ALDEN TYRELL REMIX 12”
(clone loft series supreme, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*The return of Putsch 79! After their big momentum a couple of years ago the guys have been busy remixing and producing others. After been out of the music scene for some months doing some fishing and catching butterflies in the northern parts of Finland they are back with a big bad disco monster! Comes with a possibly even a bigger Alden Tyrell disco monster remix as we haven't heard from him in a while! Peak time material!

BASIC SOUL UNIT- TUFF LUV 12” (creme, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*After his succesful remix of Arnold Jarvis house classic ''Take Some Time Out'', Toronto based Basic Soul Unit (aka Stuart Li) is back on Creme with a 4 track ep and he's bustin' out those dope moves holmes! Deep and raw, at times retarded and industrial edged emotional JAck tRax that are firmly rooted in the Detroit/Chicago tradition while keeping an eye on the ... damn we're rolling out thos cliches again today! Hot-cold, blue-red, we're on fire!

ARNOLD JARVIS- TAKE SOME TIME OUT: BASIC SOUL UNIT REMIX 12”
(creme, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Re-release of this fantastic 1987 NY underground houseclassic with its beautiful strings and fat-ass bassline. Also featuring an updated version by Basic Soul Unit.

LEGOWELT- GARDENS OF THE GHETTO 12” (creme, netherlands)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*The official follow up to Legowelt's ''Vatos Locos'' LP, last years magnum opus/tour de force/piece de resistance etc (did we loose your attention yet?). Ever since the inclusion of these tracks on the extremely limited (and partially withdrawn) Vatos Locos CD - we've had many requests to put them on vinyl. Who are we to fly in the face of popular demand? So here it is, on glorious virgin black vinyl in a gorgeous sweet 'n' sober sleeve. Inside you find four tracks of patented deep(house) jakking Wolfers madness .. Two bangers and two intropersective low-ridin' rolers. Not only great for ghetto gardening and home improvement, but also for workin' up a sweat on the dancefloor.

V/A- DIRECT BEAT ARCHIVE SERIES 2X12” (direct beat, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Detroit,1993. The Burden Brothers known for their Octave one project and 430west record label start a new sub label called Direct Beat. It was created to release the techno electro sounds of inner city Detroit. In 1995 the label was in full effect and released music produced by friends such as Tommy Hamilton, Keith Tucker, Mad Mike Banks, Will Web and them self. Now 15 years later we know that Direct Beat was one of the big influences on how electro and techno is today.

I-F- PLAYSTATION #2 12” (disko b, germany)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*shop favorite/essential restocked… Classic 3 track electro ep produced by Lonny Eyes. Tracklist: Playstation #2 (Featuring Helga La Blaque), Quest (Part 1), Spiegelbeeld (Hidden Camera Remix).

DEXTER- REDBOX/1992 12” (dolly, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Dexter drops Dolly 2 with some mad old schoolish Detroit influence called 1992. With the trade mark sharp beats of Dexter injected with phat funking KMS techno (including Reese bassline). Redbox is the same recipe. Dancefloor orientated old school house and techno influences with powerful production skills. Big peaktime tracks without doing the standard tricks... Pure dancefloor blizz!

JAKOB KORN- SUPAKRANK 12” (dolly, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Klakson off shoot of Panoramabar Resident DJ Steffi: Dolly records... white label-stamp styling. Limited run of 300 copies. Really strong release and a blazin remix by Basic Soul Unit!

DOLLKRAUT- LOOT: KRAUSE DUO REMIX 12” (doppleschall, germany)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Dollkraut aka Pascal Pinkert is back with another great EP. Once again he shows his ability to produce a unique blend of house influenced by soul and jazz. Loaded with warm and analogue sounds paired with his intuition for solid vocals and sampling. The remixes featured on this record are done by two swinging tag-teams. First of all the well known Krause Duo (Freude Am Tanzen/Musik Krause) with a edgy sharp jacking remix. On the B-Side Scott (The Gym/My Best Friend/Fluid Ounce) turn the downbeat track Precious Fool with their jazzy twist into a dancefloor anthem. Outstanding record!!

CV313- REMODELED 12” (echospace:detroit, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Echospace are proud to announce the third EP from the forthcoming cv313 album, Dimensional Space. This release marks the first remix from King Midas Sound (The Bug), creeping and trembling right at the very core of your very being. The mix by Rafael Anton Irisarri as The Sight Below is a slow-motion dream where in every twist and turn a new detail unfolds. Last is a 4/4 number culled from a Deepchord Presents: Echospace live set, which is deep, underwater space-funk. On clear vinyl.

V/A- SHANGAAN ELECTRO: NEW WAVE DANCE MUSIC FROM SOUTH AFRICA 2LP (honest jon’s, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto (an urban area of the city of Johannesburg in Gauteng, South Africa), recorded between 2006 and 2009. From his small home studio in Soweto, Nozinja (aka Dog) sells more than 50,000 records a year (DVD, cassettes, CDs) -- without iTunes, without digital distribution. This is hyper‐local music, all of it still considered traditional, all of it marketed through Shangaan radio and newspapers to a relatively small set of people who live between Johannesburg, Limpopo and Mozambique. Besides Dog himself -- or rather Zinja, Dog's performance name -- his label roster includes BBC, Tiyiselani Vomaseve, and Dog's famed mask‐wearing, clown‐dancing group, Tshetsha Boys. Dog often goes to the dances to scout for new talent. That's where he found Tiyiselani Vomaseve, two sisters who perform together as one of the most popular Shangaan traditional groups in South Africa. They count South African President Jacob Zuma's wife, Thobeka ka‐ Mabhija‐Zuma, as a fan and won a 2010 SABC award for Best Female Traditional Album, which is just one of many awards that Dog has accrued. Tshetsha Boys won Best Newcomer, Best Male Song of the Year and best Shangaan Song of the Year. BBC (trans. "Black Beautiful Culture") took home an award for Best Song as well. The awards are indicators of Dog's success, but the real test comes every Sunday in Soweto. Groups like Tiyiselani Vomaseve and BBC compete regularly for the crowd's favor. "You must be prepared to see the fastest dance ever," Dog declares. The dances are wild, with films of them attracting more than half a million hits on YouTube. The tradition grows out of the Shangaan disco movement, a music that dominated in the '80s with artists like Penny Penny and Peter Teanet. Shangaan disco ran at 110 BPM. Dog's music is around 180 and it's getting faster. Yet the lyrics seem to run counter to this rapidity. They read like African soap operas, tied up with domestic matters and a yearning for the slower life. This is country music. There's something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet "tradition" to them can also be living, electronic and nuanced. Just as Dog samples American phrases in his songs, his videos cut in shots of white joggers on a spring day, a foggy lakeshore reminiscent of Wisconsin, even a corporate office space -- mundane yet exotic images which become intriguing takes on the modern South African dream. Instead of African music becoming Americanized and re‐framed for the global market, Dog's productions do the opposite. American phrases and foreign images become samples in his collage, in his traditional context. This album is the first release of its kind outside South Africa. Here is Dog's music as-is.

MALVOEAUX- TARGETS 12” (l.i.e.s., usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*L.I.E.S. imprint outof New York City with Malvoeaux's debut (Aka Steve Summers) clocks in with three tracks that harken the times when Roule records of France and Chicago artists like Paul Johnson, Roy Davis Jr. and DJ Sneak were chopping up disco records and using a 909 drum machine to create devastating and effective party tracks making something new of the old. Not unlike the Soundstream releases of recent, the Malvoeaux ep is versatile enough to appeal to dance music lovers across the board. From edit freaks, to 90s house enthusiasts, to cracked out party-goers and beyond, this release will appeal to both discerning dj and music lover and is sure to get the dancefloor going especially with summer right around the corner.

SCOTT GROOVES- RIDDUM COLLECTION 2X12” (modified suede, netherlands)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*This is a special tribute to clean simple rhythm tracks and Scott Grooves shows that being one of the first techno musicians on the planet doesn't have to mean that the passion for pure dance music has to disappear after so many years in the music bizz. Excellent collection of tracks that lean towards classic house music, but with that fresh simple approach of many of the new school house producers!

MORPHOSIS- RUNNING OUT/MUSTAFIR 12” (m>o>s, netherlands)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Killer house 12" by Morphosis aka Ra.H of Morphine fame. Could be best described as a 21st century interpretation of Ron Hardy’s raw and uncompromised Music Box sound. The resemblance is not in copying Ron Hardy’s sound, but in creating a similar atmosphere. Extremely powerful and out of this world.

V/A- SLOW TO SPEAK: DEVELOPED INCONSISTENCIES, AKAPELLA 2 12”
(slow to speak, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*'slow to speak' are at it again with a second installment of unlikely and obscure a capella DJ mixing tools. Carefully preserved in phonograph format (and preserving the phonograph format), this assortment of quotations, media clips, poems, interviews and monologues are more than ambient fodder. They are secret messages for the dancefloor. A mechanism for dialogue between DJ and dancer. Mix 'em in... "and then they will hate you, and their hatred will be perfect." To paraphrase the ramblings of a madman, "It is not the job of DJ's to give the dancers what the dancers want. If the dancers knew what they needed, then they would not be the dancers. They would be the DJ's."

THE POINTER SISTERS- DON'T IT MAKE YOU CRAZY 12” (slow to speak, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Phat party-rocking grooves from the ever-legendary Pointer Sisters. Before their endeavors on the mainstream of the major label disco circuit, Pointer Sisters made their name with their instrumentally masterful grooves on the rawest edges of 1970’s soul sensuality, classic funk that continues to drive so many genres forward with the original substance of sample-based dance musics---the infallible, irresistible midtempo anthem “Don’t It Drive You Crazy” comprised the sample for the legendary Gang Starr hardcore masterpiece “Execution of a Chump” to provide an urgent and most relevant example. But beyond its future expropriation, “Don’t It Make You Crazy," along with "Send Him Back”---edited with learned cunning by Pilooski here---are examples of the eclectic arsenal of earliest NYC club culture, before four-to-the-floor disco had entirely taken root, when rock, funk, soul & jazz were equal fodder for the first forays into mixing & club programming. It’s records like these that actually birthed “disco” proper, releases created expressly for the club before this institution (at least in the United States) became really entrenched with the die-hard roots of 1970’s-era hedonism. Pressed on high quality 12” vinyl, these alpha classics still sound as fresh and devastatingly effective as they must have in 1977 & 1972 respectively, timeless pieces of American soul music.

STEVIE WONDER- DO I DO 12” (slow to speak, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*shop favorite restocked… One of his finest dance classics, Stevie Wonder’s “Do I Do” has taken its place in the holy canon of club since it’s release in 1982. From the harder edged institutions of Chicago & Detroit to the deep-disco environments of NYC, onwards to Europe’s growing dance music communities, “Do I Do” was a reaffirmation that 1980’s uptempo soul music was alive and well, thriving despite the supposed “death of disco” some 3 years earlier. Reissued here on high quality, crisp 12” replica pressing, “Do I Do” comes with the extremely rare instrumental version, featured exclusively on radio-DJ 2x12” promotional release and an in-demand scarcity ever since. Just one specimen of Wonder’s literally endless output merging highly-produced R&B with electronically rooted post-disco, “Do I Do” remains a golden standard to follow in the storied legacy of soulful dance music’s progression.

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

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MAP

t/us: 1215 965 9616

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e: ajv@tequilasunriserecords.com

u: www.tequilasunriserecords.com

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HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

Wednesday: 12:00-6:00pm/est

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NEW ARRIVALS/RESTOCKS FOR THURSDAY, AUGUST 12

2010-08-12T11:26:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, AUGUST 12

thanks for looking.

so it’s been a couple weeks since the last update (and much of what makes up this update should have been in the -cancelled- july 29 update), but hey, belated updates are what pass for holiday’s around here. needless to say, there a ton of great stuff from shop favorite labels like de stijl, not not fun, sacred bones, sublime frequencies, captured tracks, olde english spelling bee, strut, wierd and many more, plus more expected friday/monday, so as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

MOTHER OF FIRE- MOTHER OF FIRE LP (de stijl, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*We're releasing an LP by a band called Mother of Fire. Inspired by many things, I'm reminded of two main veins: a Krauty, rhythmic throb and a sort of gutterized/behead the prophet stance that once seemed to have run up and down the West Coast (which is where MOF have called home for some time). Both of these things are filtered thru post-Spacemen sensibilities and fueled with violin, bass and drum, all of which makes for a disjointed listen evoking things you've heard before in a completely surprising and fresh way.

THE PARASITES OF THE WESTERN WORLD- THE PARASITES OF THE WESTERN WORLD LP (de stijl, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*The Parasites Of The Western World are a band from Portland OR who released their recorded debut in 1978. It's a fascinating spin, a galactic ramble across the otherworldly themes of alienation and paranoia, seemingly inspired by LSD and Philip Dick. Primarily the creation of Patrick Burke and Terry Censky, the Parasites were limitless with invention and completely DIY. This is a record that was recorded in an apartment, by a crew thoughtful enough to curtail its loud excursions for the daylight hours. Its rockist moves are surprisingly informed by the typical institutions of this era : Pink Floyd, the Beatles and Hawkwind and it's many electronic flourishes are an above ground sound that would presage the likes of Vertical Slit, F/I and Vertigo. The Parasites remain to be light years ahead of a time that has yet to come. Swank, one time vinyl pressing of 1000 copies.

ROBEDOOR- BURNERS LP (important, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*robedoor back catalog title in stock for the first time… limited edition of 500 copies. Mastered by James Plotkin. Recorded and mixed from April-September of '09 at the same East L.A. hillside studio ('Green Machine') where Raiders was tracked. The goal with Burners was to make a record fusing the recent-ish song-based structures of Raiders and the Pagan Drugs 7" into some of the older-style Robedoor drone-sprawl architectures. All songs were written/sculpted over the course of constant live shows ('Burning Man' in particular was an '09 live staple).

ROBEDOOR- RAIDERS LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*robedoor back catalog title in stock for the first time… following their 2008 East Coast tour with Woods and Pocahaunted the Robedoor agenda has mainly been: hibernating in the City Terrace zone above east LA, adding a drummer/modular synth dealer, and letting the smoke rise. Raiders is the first RBDR LP since 2008's Endlessly Blazing and is the result of almost six months of slow-burn transformative tape machine meditation helmed by Mr. Ged Gengras. Bummed guitars, loner drone tones, low caverns of reverbed drums and rumble, echo dislocation, and dead voices cascade down into the isolated highways. Song modes are carved out and then left to rot. Features early trio live set staples like 'Indo Shadow' and 'The Downcast Eye.' You can't stick your hand in the same black river twice. Change or be changed. LPs in jackets with cover photo by Caitlin C. Mitchell. Edition of 500.

HIGH WOLF- ASCENSION LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Pyramidal meditationist High Wolf has been highly active since last summer's Animal Totem tape dropped on NNF: he's released three full-length CDRs, started his own record label (Winged Sun), begun a mail-collab with Astral Social Club (as Iibiis Rooge), embarked on two UK/Euro tours (one with heavyweights Gnod), plus trekked out on a month-long solo journey through India to collect field recordings and get deep. Whoa! Makes you feel lazy right? Well actually that's not all, as he also spent a few months somewhere in there recording, mixing, and re-recording the five multifaceted ethno-flux odysseys that comprise Ascension, his debut vinyl full-length. Utilizing his usual toolbag of looped tablas, fuzz guitar leads, chiming white light guitar, synth swells, and cloud-climbing electronics, the album safaris through a host of ecstatic ritual landscapes with more focus and magic than any other High Wolf hunt to date. A beautiful album for dissolving, dreaming, dancing (in a certain way). Been spinning this one weekly, share the flight. Black vinyl LPs mastered by Pete Swanson and housed in jackets with artwork by Kaugummi Magazine captain Bartolome Sanson. Edition of 400.

MAGIC LANTERN- PLATOON LP (not not fun, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*It's been a while since The Lantern shined its High Beams out into the world but life's a maze of alternate paths (marriage, children, Portland Oregon, etc) and that's just the way it goes/went. Fortunately for all lovers of heavy male psych brotherhoods, the ML gang convened back in 2009 before parting ways temporarily to track their second full-length, Platoon, and here it is. As oughta be expected, it's a monstrous hot-rod cruise into screaming dual wah distortions powered by the poker faced Gavin/Chip rhythm section and splattered with jazzy freak-out organ and the occasional Stallones echo yelp. Featuring most of their live classics from the pre-hiatus era ('Dark Cicadas,' 'Friendship,' etc) and tracked/mixed by Best Coaster Bobb Bruno, this fills the hole in yr heart left by High Beams.

WHITE BOY AND THE AVERAGE RAT BAND- WHITE BOY AND THE AVERAGE RAT BAND LP (roach, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Reissue of heavy & fuzzed out Acid Archive proto metal jammer that will satisfy Heshers & Rockers alike. Word has always been this masterpiece is the work of a lone duder from Virginia yet cover has 4 bad asses spoiling for a rager. Sure sounds like a one man frenzy, but who knows for sure? Kenneth Higney gets some Schenker chops & becomes a fixture at Lamour where he functions as gangbang meat for Meanstreak. Yeah! How could you not be fucking stoked? Edition of 400 copies... "This is stretching the limits of the Archives here -- its a 1980s and sounds much closer to the kind of post-punk hard rock that got college airplay in the late 80s than it does like anything else reviewed on this website. That said, its speedy not-quite-metal hard rock with a pulverizing distortion sound (to call it fuzz guitar is to understate it by a mile). One song is acoustic, but mostly this is just in-your-face blitzkrieg, and its really great." - Aaron Milenski, Acid Archives... Not related to White Boy on Doodley Squat. Highly recommended!

TECHNICAL SPACE COMPOSER'S CREW- CANAXIS 5 LP (scheisshouse, germany)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*One of the earliest and rarest Krautrock albums ever, this was recorded in 1968 by Holger Czukay of CAN fame, and released the next year on the tiny Music Factory label in a pressing of only 500 copies. With just one long track on each side, this faithful reissue features all the original artwork. “The project name for a one-off collaboration between Cans bass player Holger Czukay and the painter Rolf Dammers. Canaxis 5 (1969) was an early attempt at manipulating ethnic music (World music), in many ways predating the discreet background music of certain ambient Brian Eno albums. The album was made using tape loops from traditional Vietnamese music to create some kind of acoustic sound painting. The result was a strange sound milage. It contained only two tracks: "Boat-Woman-Song" and "Canaxis". Few ordinary instruments were in use, only Holgers bass can be heard occasionally. Nowadays, this album is nothing more than a curiosity, documenting the ambient music in its early childhood. Czukays tape editing skills steadily improved through the years - as proved by the mid-period Can albums and even more so on his solo albums." - Mutantsounds.

ROBEDOOR- RANCOR KEEPER LP (seacave, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*robedoor back catalog title in stock for the first time… Rancor Keeper is a maelstrom of deep, dark noise constructions, spewing forth torrents of contorted instrumentation (believe it or not there's cello, guitar, percussion and keyboards buried in here) and harrowed, wailing voices. Californian duo alex and britt seem to have refined their unholy din for this release, distilling the robedoor sound to a godless horror show of atmospheric sonic punishment. While pieces like ‘Penitent Runes’ and ‘Abyss Whisperer’ certainly sound hellish, there's always some sort of harmonic cogency lurking in the details, but by the time we reach fifteen-minute closer ‘Wendigo Psychosis’ the pair really plummet into the furthermost reaches of noise, initially falling through a gentle five-minute drone passage, before ultimately combusting into a feathery, distorted mass.”—Boomkat. Edition of 500 copies on vinyl with all new artwork.

PUNK AND POST PUNK

BEACH FOSSILS- BEACH FOSSILS LP (captured tracks, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Brooklynite Dustin Payseur records dreamy, slightly fuzzed pop as Beach Fossils. Yeah, another "beach" band, but the word "fossils" rightly hints at nostalgia that goes deeper and more distant than a few summers past.

TIM COHEN- LAUGH TRACKS LP (captured tracks, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*As the frontman for the already prolific Fresh & Onlys, it seems impossible that theres yet even more songs coming from the well of Mr. Cohen. More surprising is that they maintain a high standard of quality. "The Two Sides of Tim Cohen" LP came and went in the blink of an eye. Recorded after his stint in Black Fiction and before his current set-up in the Fresh & Onlys, "Two Sides.." was a fresh dose of pure outsider pop with drum machines and keyboards. For a follow up, "Laugh Tracks" finds Tim in a more fleshed out full-bodied approach, complete with horn arrangements. These are personal songs from a highly gifted songwriter and were happy to make them available.

THEE OH SEES- DOG POISON LP (captured tracks, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*We are proud to put out a full-length record by the prolific Oh Sees, and boy, is this one a monster. More layered and textural than previous Oh Sees releases while keeping all the typical Dwyer punch, oomph and weirdness. 10 fantastic new songs, terrifying pencil-drawn sleeve. Our second LP release, and we couldnt be more pleased with it.

BOYS NEXT DOOR- THE LOST AND BRAVE EXHIBITIONS OF THE BOYS NEXT DOOR 1977-1979 LP (il cane lento, usa)
21.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Before the bands The Birthday Party, Nick Cave and the Bad Seeds, These Immortal Souls and Crime & the City Solution, there was a band called The Boys Next Door, formed by Nick Cave, Rowland S. Howard, Mick Harvey, Tracy Pew and Phil Calvert, which later became the Birthday Party. These are the earliest studio recordings.

V/A- CIRCUIT D'ACTES LP (la forme lente, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Featuring new solidly froidetastic uptempo trax from Wierd label bands Frank(just Frank) from Paris and Automelodi from Montreal, both of whos long-awaited debut lps will be released by wierd later this spring (ie now, see releases below), this release is an excellent introduction to the new French minimal synth scene. Edition of only 500 copies, get one while theyre still cold...

LED ER EST/ANCIEN REGIME- SPLIT 12" (mannequin, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Mannequin had a dream and it has come true, a split vinyl between Led Er Est (New York, US) and Ancien Régime (Rome, Italy). Led Er Est hailing from Brooklyn are one of the leaders of the new cold wave and minimal synth scene, signed to scene leaders Wierd Records and recently released their ‘Dust On Common album which could have quite happily been released on Mute in 1979 alongside Fad Gadget and The Normal. Cheap drum machines and synths hammer away relentlessly forming a post-industrial soundscape for sombre yet emotive vocals. Ancien Régime hailing from Rome, moving closer to the spirit of the 80s new wave, the bands sound incorporates influences from 80s dark wave music and modern indie-alternative rock. For the 12 Split the 4 tracks were produced by Alessandro Adriani with a full analog synths and drum machines setup at Mannequin studio.

LA VAMPIRES & ZOLA JESUS- LA VAMPIRES MEETS ZOLA JESUS LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Virtual reality trans-time zone collab between So-Cal sample sister LA Vampires and Madison, WI (though soon to be LA!) neo-Siouxsie Zola Jesus. Despite the distance the respective vibes vibe beautifully. Cold dub rhythms echo down grimy corridors while heartbroken tag-team femme howls come bleeding out of the horizon drenched in spectral delay. There's a few bangers ('Bone Is Bloodstone,' 'Looking In'), a few ballads ('In The Desert,' 'Vous'), and a couple quasi-covers ('Searching,' 'No No No'), so every mood is given its due. Local photographer (and drummer) extraordinaire Caitlin C. Mitchell even lays down some smoky trumpet on one track. Additional deep space Moog and production duties were handled by City Terrace studio wizard M. Geddes Gengras. A dark, gleaming gem of a 12", and cool step sideways for both artists. 45 RPM black vinyl LPs in disco-hole sleeves with artwork and layout by Manda Beth Brown. Edition of 600.

AMEN DUNES- MURDER DULL MIND 12" (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Recorded while damon mcmahon was living as an expatriate in China, amen dunes presents seven new stunning works of sunlit haziness. During the two years he lived abroad, he lived most of the time in an apartment on the north end of Beijing. He tracked these songs one summer in that apartment. With the exception of "Diane" and "Murder Dull Mind," all of these songs were recorded in one take and are completely improvisational; on repeated listens though, there is a pop-ness to these songs amidst the improvisation. The title track in particular, a melodic mantra-like work could certainly function on its own as a single. Although the songs have a bit less pre-written structure than Amen Dunes previous work on the Locust label, they are still every bit as miraculous. The geographical influence on his work central to both writing and recording conditions is evident here as these songs are way more open, and generally more free than his debut Dia (recorded in 2006 in a Catskills cabin) was. A bit less psych freak out and a bit more dark folk vibe throughout.

THE BITTERS- HAVE A NAP HOTEL 12" (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Hot on the heels of their debut Mexican Summer long-player, the bitters, consisting of aerin fogel and the ever-prolific ben cook (roommates, young govoner, fucked up), bring us their Have a Nap Hotel EP. This Toronto-based duo have built a name for themselves forging their self-coined "cave pop" genre, which merges elements of 50s melodies and dark post-punk instrumentals with just a hint of flannel. Their debut 12-inch EP Wooden Glove, was released last spring on Captured Tracks and sold out shortly after, having been instantly well-received among tough critics and keen listeners alike. Cooks jangly guitars stay back in the cut and let Fogels vocals (and the occasional fuzzy lead, saxophone, synth line, and handclap) wash over the tunes. Their collaborative work appears live with the help of drummer jonah falco (Fucked Up, career suicide) and a rotation of starry guest bassists. Though live shows have been scarce, owing to the members involvement with a number of other disparate projects, the band made their live debut a short time ago and found time to play the Sacred Bones label showcase at sxsw.

NERVE CITY- SLEEPWALKER 12" (sacred bones, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*The six-song Sleepwalker EP by NERVE CITY—the one man home recording project out of Richmond, Virginia—is the latest installment in the Sacred Bones 12-inch series. Awash in the whips and twangs of a spring loaded reverb tank and faint hints of a distant drum kit, Nerve City's hook driven songs recall the hard charging down-strokes of the Velvet Underground's more driving moments or, more recently, the psychedelia of west coast kindred spirits in Sic Alps and the Gris Gris. Over the past several years the band has cemented a rep both live and on record. First came the Catholic School demo tape and the follow up, Hell (both via Amateur Depression), then quickly sides on Severed Hand, Kill Shaman, HoZac, and Sweet Rot. For the most part those releases are now completely gone.

DAILY VOID- THE ECLIPSE OF 1453 12" (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*The third installment in Sacred Bones’ 12-inch ep series comes from Daily Void. The Chicago band which includes Ÿ of the Functional Blackouts and who cut their teeth with singles for Boom Chick, HoZac, and Florida’s Dying pick up where they left off on their previous full length with a half dozen songs of disjointed, death-tinged noisy punk. Shades of Rudimentary Peni and some off the lesser celebrated acts on Crass Records course through this slab of vinyl.

VERMILLION SANDS- MISS MY GUN 12" (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*The second installment in the Sacred Bones 12-inch EP series comes from Treviso, Italy's vermillion sands who sound like they could be the house band at the dystopian oceanside resort that features prominently in the JG Ballard short story collection from which the group takes their name. The Vermillion Sands' ramshackle female fronted country tinged garage rock gives off some serious Mekons-meets-Headcoatees vibes or a femme fronted counterpart to the records Dan Melchoir has been pumping out as of late. Reverbed whips and twangs and a little mouth harp underlie some serious hooks and melodies. Look out for the debut full length out soon of Fat Possum.

AUTOMELODI- AUTOMELODI LP (wierd, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Wierd Records is proud to present the self-titled debut LP from Montreals Automelodi. Lead by vocalist and songwriter Xavier Paradis who has long garnered a cult underground following with his solo minimal synth project Arnaud Lazlaud active in Canada since the late 90s, the band was formed in 2006 and is a welcome new addition to the international wing of the Wierd Records community in Brooklyn. Like labelmates Led Er Est and Frank(just Frank) Automelodi combines guitars with synthesizers and drum machines to create a truly idiosyncratic, cerebrally sophisticated, and elegantly composed album of modern minimal electronic music!

FRANK (JUST FRANK)- THE BRUTAL WAVE LP (wierd, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Wierd Records proudly presents the debut album from Frank(just Frank) from Paris, France entitled The Brutal Wave. The Brutal Wave draws from many rich traditions of US and UK guitar driven wave, minimal synth, early black metal and new indie rock from Brooklyn respectively - layering lush washes of atmospheric anglophilic guitars above a warmly orchestral analogue synth and drum machine fueled minimal electronic backdrop. Equally of disparate origins are the band members themselves, Chris was born in New Jersey and grew up with half-Indian Kirti in the South of France, although both were schooled in London. Despite such varied influences and backgrounds, Frank(just Frank) indeed proudly embrace the French pop musical tradition and present a freshly recontextualized version of the french cold wave sound, which might well be most appropriately called ‘La Vague Froide Moderne in 2010.   The album presents a carefully crafted set of nine trax in which shiver-inducing swathes of guitars, restrained and mournful, battle alongside and often it seems directly against bitingly insistent vocals, that effortlessly switch between French and English. No lyrical themes are off limits for the apparently fearless young band, as the poetically flowing voice espouses tales ranging from provocatively centrist takes on international politics to vulnerably personal epics of heartbreak and addiction, and these tensions between right and left, darkness and light, and private versus public consistently replay themselves throughout the record, both in the lyrical content and the musical dynamics at work. This powerfully emotional record is made with simultaneous confrontation and restraint, as well as viscerally sensitized homemade DIY intimacy and feverishly swaggering aggression, and it is this balancing act and interplay of extremes that Frank(just Frank) harnesses to carve out The Brutal Wave!

GREY AREA

MAGIK MARKERS- BOSS LP (arbitrary signs, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*When confronted with an example of magnificence in nature, such as a waterfall, Jane Goodall reported that the chimpanzees she observed were captivated, as if in awe of the beauty of the world. On BOSS, the Magik Markers have tried to capture the chimps awe. A formality and restraint the Markers have never exerted on their previously recorded material is present on BOSS. Now the Markers are Jainists, with their mouths masked so as to not inhale even one tiny insect, here pursuing the killer gentle with a vengeance. Recorded in the cavernous dark of Echo Canyon West, with producer Lee Ranaldo working the boards like a diviner, BOSS documents the Markers with a previously unheard fidelity and orchestration. Idiosyncratic song structure and melodies interspersed with a destructive drum stomp are reminiscent of the early electrified blues of Junior Kimbrough, or the black hole rhythms of Kousokuya. Mixing a gentle vulnerability with a winded egomania, the Markers have always had a musical tunnel vision; BOSS is that vision made manifest. The tug of war the Markers enact, the way they are fully prepared to start yanking their world apart as they find themselves losing their place in, makes moot possibilities of greatness or mediocrity. It makes them unapologetic soothsayers with their ears pressed to the ground, waiting for footsteps. With Peter Nolan, we finally hear what Lou Reed would have sounded like had he sallied with the drums instead of getting seduced by the easy praise of front man status. Like Rashid Ali squeezed into the Teutonic leather pants of Faust, Nolan drums like there are hell hounds at his heels but he just cant be bothered. Here both laconic and frenzied, Nolans drumming arms reach out like an octopus: tickling the ivories, humming the organ and blasting taps on some kind of endtime trumpet. As a pianist, Nolan reminds us that the piano is a percussive, beating out the whoomp of some old war dance, a bare foot-fall rhythm of fighters to battle and the heavy hands of a whiskey burlesque in the afternoon. Nolan is easy to underestimate, but finally, here is high fidelity record of the strange soul of one of Americas most natural and quizzical musical minds. -Ecstatic Peace. Small repress - handpainted jackets, insert, full color poster.

BRYAN EUBANKS/J.P. JENKINS- MULTI-KEY COMING/DCW/ROUGH METAPHORS LP (olde english spelling bee, usa) 19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… Bryan Eubanks (of GOD) delivers a throbbing wall of distressed electronics that is 'indeed heavy at intervals but also makes a cognitive transparent treatment' according to the cryptic liner notes. To further quote the liner notes: '...this music is a tool for is is sunk that in a different interpellation than overleving neccasitates.' What? For his side, J.P. Jenkins (of Ghosting, Portland Bike Ensemble) layers acoustic guitars in a psychedelic, personal style that's more intuitive and exploratory than technically inclined. His unique approach completely sidesteps any of the current neo-folk/fingerpicking trends and goes for something far more organic and amorphous.

JAMES FERRARO- LAST AMERICAN HERO LP (olde english spelling bee, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*shop favorite restocked… Remastered reissue of an obscure tape that came out in a Europe-only edition in late 2008 on Dreamtime Taped Sounds - the label run by Lieven Martens of Dolphins Into The Future. This is a very unique work in the massive Ferraro discography as it employs rock instrumentation in a minimalist fashion to dazzling effect. Features the tracks 'F-150 Night Eros At The Highways End', 'Blacktop Tumble Weed: Empty Monster Energy Drink Can', & 'Headlines (Access Hollywood)'. Limited edition of 450 copies. Includes a download coupon for the mp3 version.

JAMES FERRARO- K2: CHAMELEON BALLET LP (olde english spelling bee, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*shop favorite restocked… in chameleon ballet i wanted to create a work of magic that simulates a dream atomosphere of post industrial landscapes, with the waking memory of a romantic alien encounter occurring in the dream. dedicated to the mystery of night and the magic of dreams - james ferraro

FOREST SWORDS- DAGGER PATHS LP (olde english spelling bee, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… Wirral's Forest Swords make a textured, gauzy music as indebted to the Liverpool region's rich musical heritage as it is to the bleak-yet-beautiful coastal environment from which it was born. The result is something completely organic, sounding like a dancehall mix of Mogwai's more luscious soundscapes, Burial's sample-strewn claustrophobia, and Ennio Morricone's spaghetti western scores. The record's sweaty and thunderous dub grooves and cavernous guitar licks rub shoulders with R'n'B shuffles, dread-soaked percussion, and heady drones to create a visceral and epic sound. Dagger Paths consists of specially remastered versions of songs from the out-of-print cassette singles Miarches and Glory Gongs, along with brand new tracks. Full color pro-printed covers and insert - also includes a download coupon for the mp3 version.

LAMBSBREAD- COULD YOU BE LOVED? LP (olde english spelling bee, usa)
22.98usd/13.76gbp/15.25eur/2012jpy (approx)

*shop favorite restocked… 'Don't let them fool ya / Or even try to school ya! oh, no! / We've got a mind of our own / So go to hell if what you're thinking is not right! / You can fool some people sometimes / But you can't fool all the people all the time.' -- Bob Marley. Limited & numbered edition of 200 copies, paste-on covers.

JULIAN LYNCH- MARE LP (olde english spelling bee, usa)
22.98usd/13.76gbp/15.25eur/2012jpy (approx)

*Second full-length album by Julian Lynch. Recorded in Madison, Wisconsin and Ridgewood, New Jersey in 2009 and the beginning of 2010. Download coupon included.

JULIAN LYNCH- ORANGE YOU GLAD LP (olde english spelling bee, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*Orange You Glad is the debut full-length LP from Julian Lynch, following a string of self-released cd-r's and a recent split 7" with his childhood friend and frequent collaborator Matt Mondanile of Ducktails on the Underwater Peoples label. A talented multi-instrumentalist, Julian has had a busy summer playing countless shows both solo and as a member of Predator Vision, Ducktails, and Real Estate offshoot Alex Bleeker & the Freaks. This album is comprised of 4-track home recordings made in his hometown of Ridgewood, New Jersey and also in Madison, Wisconsin where he is a graduate student in ethnomusicology. His interest in Indian & South Asian music blossomed several years ago when he was living in Washington, D.C. and working for Smithsonian Folkways Recordings. This exposure to their vast library of world music has informed his output, and he blends instruments such as harmonium & tabla with guitar-rock instrumentation. Also of note is his use of circular breathing techniques on the clarinet -- often a focal point during his meditative live shows.

MOUTHUS/COUSINS OF REGGAE- SPLIT LP (olde english spelling bee, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… A side each of fertile noise-rot from Montreal's Cousins of Reggae and Brooklyn's Mouthus. Soundly rejected by Discovery Channel, the Cousins' five-track suite about the Hudson Bay follows up their limited and hard-to-find debut LP (on Ohnonoise) and a recent CD-R on Mouthus's Our Mouth imprint. They set sail with some hyperactive stompers and narcoleptic stumblers intent on capsizing all vessels in their path before coming under attack by a squadron of pissed off jet-skiers. On the flip are two massive Mouthus jams ? 'New Drugz' and 'Better Than Facemask' which perfectly capture a day spent peaking on mescaline at the Daytona 500. Limited edition of 500 with unique handpainted covers and full-color inserts.

MOUTHUS AND AXOLOTL- 12-15-04 LP (olde english spelling bee, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… X-mas 2004, Brooklyn. Brian Sullivan and Nate Nelson of Mouthus meet up with Karl Bauer of Axolotl for some sonic celebration and let the tape machine roll. Two side-long psilocybe-inspired scoops of shimmering and stumbling drone/zone/sludge ragas. Better dust off yr bib.

PIGEONS- SI FAUSTINE LP (olde english spelling bee, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*Pigeons is the psychedelic pop project of married couple Wednesday Knudsen and Clark Griffin. They met in Seattle and, while living there, were part of The Sea Donkeys -- a shambling anti-folk collective of freaks which also featured Hisham Mayet of the Sublime Frequencies label. The Sea Donkeys released an LP on the Sun City Girl's Abduction label in 2005. Pigeons formed later that same year when Wednesday and Clark relocated to New York. After releasing a string of micro-run cassettes and lathe-cut vinyls that explored noise and free jazz modes they turned their energies towards writing structured songs. The first widely available release of their song-oriented material was the 'Virgin Spectacle' lp that came out on Black Dirt in 2008. That was followed by a 7" single on Soft Abuse in 2009. Si Faustine is their second album and, like Virgin Spectacle, was recorded at Jason Meagher's Black Dirt Studio. Also featured on the album are contributions from Carter Thornton (Enos Slaughter, Gnaw, Zashiki-Warashi, Izititiz), Jason Meagher (NNCK, D. Charles Speer, Coach Fingers), and Rene Blume-Meagher. Pigeons are currently living in Paris, France. Housed in full-color 'tip-on' style jackets featuring artwork by Melodie Provenzano and also includes an mp3 download coupon.

RANGERS- SUBURBAN TOURS LP (olde english spelling bee, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… Rangers is Joe Knight. Suburban Tours is his debut vinyl release after a string of popular cassette albums in 2009 - including Low Cut Fades on Not Not Fun. His sound has been referred to out in blogland as 'elevator psyche' and 'mirrorball funknagogic pop' - and that's not a bad start considering his music is often bass-driven with washes of synth and prog-psych guitar riding over the top. Unlike the extended side-long collages of his cassette releases, Suburban Tours is a collection of eleven concise 'pop' songs that were written and recorded after moving to San Francisco from his native Texas. Not knowing anyone in this new locale, he describes the period after the move as being extremely lonely and plagued with near-constant rainfall. So he holed up and focused his attentions on recording a batch of songs that reflected on his suburban upbringing outside of Dallas and what he calls the 'failed connections with nature' that exist in these suburban zones (fake lighting, cranked-up air conditioning, golf courses, and gated 'communities' where everyone keeps to themselves). But despite the loneliness and melancholic themes there is a remarkable amount of color to his music. Like it's the sound of what he'd want to have playing on his headphones while riding a bike through these neighborhoods -- the sound necessary to make these places seem lively and fun. Music blog Visitation Rites hits the nail on the head when saying 'his music reflects a parallel fixation with the tape reel as a cutting board for the psychic trappings of middle class American youth.' Rangers is drawing from an entirely different set of musical influences than the rest of his peers - combining a passion for Manchester's Northern Soul sound with early '80s rock radio staples like Rush and The Police and the '70s prog-fusion of Weather Report. Plus he's got the chops to pull off this unlikely union -- in fact the cutting engineer for Suburban Tours was utterly baffled and commented that it sounded to him like a lost Steely Dan session recorded onto a mangled microcassette tape. That's a good thing, right? Full color pro-printed covers and insert - also includes a download coupon for the mp3 version.

SQUIM- ZEPHYRUS LP (olde english spelling bee, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… Squim, aka Chris Phillips, is an obsessive recordist living in Portland, Oregon. In the '90s, he was very active in the underground mail art and tape trading scene -- running the Circle X label out of Salt Lake City and releasing several well-received cassettes on the Bobby J. label. This album will be his debut on the vinyl format and was chosen as being the standout from among a half dozen other unreleased albums of recent recordings. On Zephyrus, Squim blends repeating melodic motifs with his meticulously collaged noise/dronescapes. This is a limited edition release of 350 copies -- each cover is a unique color monoprint, hand-printed by Squim and spraymounted, back covers are a photocopy paste-on.

GLOBAL SOUNDS

ORCHESTRE REGIONAL DE MOPTI- LES MEILLEURS SOUVENIRS DE LA 1ERE BIENNALE ARTISTIQUE ET CULTURELLE DE LA JEUNESSE 1970 LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Recorded in 1970 as part of the First Biennale of Arts and Culture for the Young in Mali. The Regional Orchestra of Mopti was a state funded orchestra that participated in country wide music festivals and competitions. A hypnotic band featuring electric guitars & a large horn section. This is the first in a series of six Mali music LPs we will be reissuing this summer from Sterns. A serene and droning record that is both sorrowful & celebratory.

MULATU ASTAKE- MULATU STEPS AHEAD 2LP (strut, germany) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Following his acclaimed collaboration on Strut with The Heliocentrics, the Father of Ethio jazz presents his brand new studio album, ‘Mulatu Steps Ahead’ for 2010. The album explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the ‘60s and ‘70s, showcased on the recent Strut compilation ‘New York * Addis * London’. For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK’s leading jazz and African players during the final sessions in London in November 2009. Each track on the album tells its own story. The reflective, meandering opener, Radcliffe, was composed specifically for the Radcliffe Institute during Mulatu’s time lecturing at Harvard in Boston – the original score is now framed on the wall there. The Way To Nice was written and arranged on the tour bus during Mulatu’s recent French dates – “with this track, you are travelling on a long journey, talking and thinking” explains Mulatu. “It was inspired by the many beautiful places on the coast road around Nice.” Assosa adapts traditional music from the Assosa tribes in North-Western Ethiopia and Mulatu’s Mood re-works a Mulatu jazz fusion composition from the early ‘90s into a new swinging Afro highlife arrangement. “I wanted to use West African styles within this version and try new ways of using the beautiful sound of the kora.” Boogaloo and I Faram Gami I Faram reprise Mulatu classics with new, fuller scores and bonus digital track Derashe highlights the traditional diminishing scales of the Derashe people of Southern Ethiopia, a musical technique that would later feature in the classical compositions of Debussy and the jazz of Charlie Parker. “Many debate how this music developed but the Derashe have played these scales for centuries. It is an untold story.” Mulatu will be touring the album from March 2010 globally, interspersed with dates with The Heliocentrics.

LLOYD MILLER AND THE HELIOCENTRICS- LLOYD MILLER AND THE HELIOCENTRICS OST 2LP (strut, germany) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Following their award-winning collaboration with Ethio jazz Godfather Mulatu Astatke (Mojo magazine Top 50 of the year 2009, Sunday Times World Music Album of the year), pioneering UK collective The Heliocentrics resurfaces alongside another fascinating jazz enigma, ethno-musicologist, jazz maestro and multi-instrumentalist, Lloyd Miller. Learning various instruments and immersing himself in New Orleans jazz through his father, a professional clarinet player, Lloyd Miller first trained himself in the styles of George Lewis and Jimmy Giuffre and cut his first Dixieland jazz 78 rpm record in 1950. During the late ‘50s, his father landed a job in Iran and Miller began to develop a lifelong interest in Persian and Eastern music forms, learning to play a vast array of traditional ethnic instruments from across Asia and the Middle East. He toured Europe heavily, basing himself in Switzerland, Belgium, Sweden, Germany (where he played with Eddie Harris and Don Ellis) and, most famously, in Paris where he worked with oddball bandleader Jef Gilson, a phenomenon in French jazz during the early ‘60s. Miller returned to the Middle East during the ‘70s, landing his own TV show on NIRTV in Tehran under the name Kurosh Ali Khan. His show became a national fixture and ran for seven years. Miller has since been a vocal ambassador for preserving the traditions of many forms of Eastern music. In recent years, his mid-‘60s album ‘Oriental Jazz’ has become a collector’s favourite and the UK’s Jazzman label have issued a compilation, ‘A Lifetime In Oriental Jazz’, covering work from across his career. The renewed interest in his music has spawned this new collaboration with The Heliocentrics, a freeform mix of Eastern arrangements, jazz and angular psychedelics and represents the Heliocentrics’ most accomplished work to date. Tracks include the reflective, yearning ‘Spirit Jazz’, a new version of Miller classic ‘Massom’ and the cinematic ‘Electricone’.

JIMI TENOR AND TONY ALLEN- INSPIRATION INFORMATION 2LP (strut, germany) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Strut’s Inspiration Information series moves on from the critically acclaimed Mulatu Astatke / The Heliocentrics collaboration with the fourth album in the series, a mouth-watering head to head between Finnish maverick Jimi Tenor and Afrobeat drumming legend, Tony Allen. Jimi Tenor remains a fascinating enigma in modern day music. Consistently one of the best and most unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) has involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Tony Allen continues to attract new fans as one of the greatest drummers alive today. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his recent work has included The Good, The Bad & The Queen collaboration with Damon Albarn and his first album for World Circuit Records released earlier this year, ‘Secret Agent’. Recorded at Lovelite Studios in Berlin during November 2008 with further sessions this year in Finland and Paris, the Tenor / Allen collaboration whips up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rub shoulders with vintage keyboards and traditional African percussion. The resulting set is one of the best recordings that both artists have produced in recent years. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also features fusions based around traditional Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ends with the extended freestyle builder, ‘Three Continents’, a life affirming, mesmeric groove built around another belting Allenko rhythm base. Topical, biting, funny and always funky, experimental but never straying from ‘the one’, this is another high quality addition to the Inspiration Information series, a ‘no rules’ set that brings the best out of both artists.

V/A- NEXT STOP SOWETO VOL. 3: GIANTS, MINISTERS AND MAKERS, JAZZ IN SOUTH AFRICA 1963-1984 2LP (strut, germany) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Strut conclude their essential three-part excursion into the archives of South African music with the third and final volume of the ‘Next Stop… Soweto’ series. Volume 3 is a long overdue retrospective of the rich jazz scene happening in South Africa from the early ‘60s to mid-‘80s. While many major artists lived in exile abroad and furthered their careers globally, many of South Africa’s finest jazz players remained, performing under the strict auspices of the Separate Amenities Act. Jazz has a deep heritage in South Africa, dating from the early 20th Century. The country’s jazz scene flourished during the ‘50s, despite the increasing restrictions of apartheid, with musicians like the Jazz Epistles and Chris McGregor influenced by Charlie Parker & Duke Ellington before adding local marabi and kwela to their be bop. During the ‘60s, the Sharpville Massacre, radio restrictions and police clampdowns made the life of a black musician often untenable. Major names like Hugh Masekela and Miriam Makeba left to live abroad. Next Stop Soweto Vol. 3 is the story of the music that survived in South Africa during this mid-‘60s to mid-‘80s era. The album features many of the recognised South African jazz greats like saxophonist Dudu Pukwana and drummer Early Mabuza, the potent soul jazz grooves of The Heshoo Beshoo Group and The Drive and some of the many artists creating unique fusions like Philip Tabane’s Malombo mixing African drums and hand percussion with guitar, vocal and flute. This is important music, a defiant statement in the face of unimaginable cultural repression. The album features an unreleased track, Dollar Brand’s ‘Next Stop Soweto’ from the archives of the South African Broadcasting Corporation. As with previous volumes, the package features rare photos from the ‘60s and ‘70s with sleeve notes by South Africa’s finest author on music and culture, Gwen Ansell. The compilers of the series are Duncan Brooker and Francis Gooding.

V/A- NEXT STOP SOWETO VOL. 2: SOULTOWN R&B, FUNK AND PSYCH SOUNDS FROM THE TOWNSHIPS 1969-1976 2LP (strut, germany)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Strut continue their essential three-part excursion into the archives of South African music with the second volume of the ‘Next Stop… Soweto’ series. With international forms of music discouraged by the South African authorities during the 1960s, township jive or mbaqanga arose as innovative artists combined close harmony singing and traditional African styles with a bouncy township beat. Imported US music became strictly the domain of house parties, private record collections and underground shebeens. Despite this, a small but healthy soul scene flourished with bands like The Movers adding marabi elements into their funk and early disco sound, The Klooks and the Anchors all directly inspired by US soul and R&B and the Hammond organ of Booker T and Jimmy Smith. From ’69, a string of 3-minute blasts of energy surfaced on local labels like City Special, Soul Town, Atlantic City and Soul-Soul, often under the intimidating gaze of producer David Thekwane. Volume 2 of Next Stop… Soweto also touches on mbaqanga and jazz artists who dabbled with soul and funk fusions during the early ‘70s – the Mgababa Queens and Mahotella Queens, and revered SA jazz combo The Heshoo Beshoo Group. We also feature a rare psychedelic track from one of the only recordings made of playwright Gibson Kente’s acclaimed theatre pieces, ‘Too Late’. The Next Stop… Soweto series is the result of several years of painstaking research and vinyl archaeology in South Africa by compilers Duncan Brooker and Francis Gooding.

V/A- NEXT STOP SOWETO VOL. 1: TOWNSHIP SOUNDS FROM THE GOLDEN AGE OF MBAQANGWA 2LP (strut, germany) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Strut follow their recent forays into Nigerian and Ethio grooves with a brand new wide-ranging three-part series exploring underground South African music during the late ‘60s and ‘70s, NEXT STOP SOWETO - Volume 1 explores the vibrant energy of the township jive sound, whilst Volumes 2 and 3, released across Spring and Summer 2010, cover rare SA soul, funk & Hammond R&B and the country’s rich jazz scene. Jazz had been a fixture in South African music since the ‘50s and jive (or mbaqanga) initially emerged a decade later as a fusion combining elements of rural Zulu music and harmony vocal styles with Western instrumentation. Early stars like “groaner” Simon Mahlathini, Nkabinde and the Mahotella Queens were key in developing a colourful, danceable sound and a competitive scene began to flourish during the late ‘60s with rival female groups like Izintombi Zesi Manje Manje gaining in popularity. With NEXT STOP SOWETO, Strut trace some of the amazing music that often only appeared on short run 45s at the time, including tracks by smaller and lesser known bands that plied their trade under apartheid during the years before the tumultuous Soweto uprising of 1976. Featuring music recorded primarily for the local market, the album takes the listener far beyond the accepted township jive template into fusions with jazz, gospel, rumba, funk and traditional mining songs, all under-pinned by a gritty, uncompromising edge. The NEXT STOP SOWETO series is the result of several years of painstaking research and vinyl archaeology in South Africa by compilers Duncan Brooker and Francis Gooding.

V/A- SAIGON ROCK & SOUL: VIETNAMESE CLASSIC TRACKS 1968-1974 2LP
(sublime frequencies, usa)
31.98usd/19.15gbp/21.23eur/2800jpy (approx)

*The long-awaited foray into the Vietnamese rock, pop and soul sound of the late 1960s and early 1970s is finally here. Saigon Rock & Soul delivers the goods international retro collectors have been searching for in vain for many years -- and it delivers beyond belief. Every song is a mini-masterpiece, be it heavy acid-rock psychedelia, horn- and guitar-drenched funk grooves, or gripping soul ballads reflective of life during wartime. The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the 1960s and 1970s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of Southeast Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even U.S. army facilities while the Vietnam War raged -- and were issued by a handful of Saigon record companies on vinyl 45s and reel or cassette tapes. Westernized forms of music in Vietnam had appeared during the latter 19th century, and especially during the early 20th century, under the influence of the French colonizers. Tan Nhac (trans. "modern music") always incorporated both domestic and international sounds, and continued to develop alongside Western musical trends. During the 1960s and 1970s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf-rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries. By the mid-1960s, Vietnam had been ravaged by war for years. American G.I.s had become a standard fixture in Saigon, as did many of the cultural artifacts they brought with them. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, The Shadows and The Ventures soon gave way to The Beatles and The Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.I.s would bring in on LP or tape. This era saw the birth of a vibrant rock scene, yet rock music and anything that came close was commonly referred to as "soul" in the Vietnamese genre-listings. Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead. Artists featured include some of Vietnam's most popular at the time: Elvis Phuong, Hung Cuong, Mai Lei Huyen, Le Thu, Thai Thanh, Giao Linh, Mai Lei Huyen and the CBC Band. This limited edition 2LP vinyl release features 70 minutes of classic original recordings compiled by Mark Gergis housed in a beautiful full-color gatefold jacket with extensive liner notes.

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525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

Wednesday: 12:00-6:00pm/est

thursday: 12:00-6:00pm/est

friday: 12:00-6:00pm/est

saturday: 12:00-6:00pm/est

sunday: 12:00-6:00pm/est

NEW ARRIVALS/RESTOCKS FOR THURSDAY, JULY 15

2010-07-19T09:19:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, JULY 15

thanks for looking.

better late than never right? sorry for the delay, but the beets were speaking last week and healey, penny and i had to get up to the mountains to pickle a couple of bushels with her aunt and uncle! so here i sit monday morning, red handed (literally) pecking out the balance of last weeks update. being that it’s mid july, there aren’t a whole heck of a lot of new releases, but there are a few new essentials (endless boogie/full house head being the stand out) and a ton of restocked greats from summer’s past that are still relevant for summer’s NOW. there’s more expected this week, so as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

BEST COAST- SUN WAS HIGH (SO WAS I) 7” (art fag, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Solid orange vinyl edition. Best Coast has been featured in the New York Times and the Los Angeles Times in addition to numerous print publications… "From Best Coast to Dum Dum Girls to the Pains of Being Pure at Heart to Vivian Girls to Strange Boys and beyond, pop is ascendant once again, especially the sort with debts to clean-cut '50s rock and girl-group pop and soul." -- New York Times.

ENDLESS BOOGIE- FULL HOUSE HEAD 2LP (no quarter, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Outta the gate I gotta say writin' about a release called 'Full House Head' & failin to mention J Geils Band is harder than findin' a white bean in a black cat's ass. Not that I got anything against 'em, hell, the ex-Mr. Faye Dunaway had that ass whoopin' comin' from me in Louisville back 'round 75. And like I told Seth Justman that night too "I got a Hotline for ya, shorty; my fist up side your head". Think It Over indeed, my little Beantown bud. And while we's is on the subject of a thumpin', how about this new knockout from Endless Boogie what's called 'Full House Head'? It's done got me all riled up! Over the course of more than a decade long career I've watched this bunch morph from mutant hominid bar choogle to luxuriating' in fissions that split open a portal what connected Coloured Balls & Velvet Underground to now redefinin' what Rock IS in the 2nd decade of the 21st Century. The production's spiffier, the rhythm's cagier, the solo's sharper & the singin, witchier. It's comfort y'all, the comfort to rock it both languorously & intricately. This zone is short of pretense & long in talent. Given the breadth of the excellence what's passed through afore, you might spin this & hear everything from Patto note moaners & Groundhogs riffage, to Seeds-like chatter or even goddamn 'Exile era Stones texturalization. But it ain't none of that, cause it can't be. The future is always steeped in the past & originality is invested in those who don't dial it in. And Endless Boogie most certainly walk it like they rock it. This may be called ÔFull House Head', but you can beat me with a corncob harmonica & call me Magic Dick if the contents therein ain't that of a Royal Flush Jam. And I should know, because I have ears. -Roland Woodbe, Professional Listener

V/A- WELCOME HOME/DIGGIN' THE UNIVERSE: A WOODSIST COMPILATION LP
(woodsist, usa) 16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*it's true--the sons and daughters of Homestead, Xpressway and first-wave Drag City (et al.) are now making good music. The '60s, '70s, '80s, '90s and '00s are all there, bound together by shitty tape machines, reverb and easy chord changes, but melody is back and so is the joy of jamming a perfectly mangled pop song. Welcome Home might hit some new kids the way Human Music or Nuggets did back in their day. In any case, it's one of those rare compilations you can play straight through and over again. --Glenn Donaldson

WOODS- AT ECHO LAKE LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… The distance between 2007's At Rear House and 2010's At Echo Lake may at first seem only semantic, but it more properly represents a move from a kind of informal back porch jam ethos to a fully-committed vision of the infinite possibilities of group playing. "Over the past few years, Woods has established themselves as an anomaly in a world of freaks. They were an odd proposition even in the outre company of vocalist / guitarist / label owner Jeremy Earl's Woodsist roster, perpetually out of time, committed to songsmanship in an age of noise, drone and improvisation, to extended soloing, oblique instrumentals and the usurping use of tapes and F/X in an age of dead-end singer-songwriters. Recent live shows have seen them best confuse the two, playing beautifully constructed songs torn apart by fuzztone jams and odd electronics.

WOODS- SONGS OF SHAME LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… The fourth full length by Woods, Songs of Shame, rips deeper with both 90-second and 10-minute forays into skeletal psychedelia. This is not to say the idiosyncratic songwriting style & vocalizing of Jeremy Earl is not present in spades but expanded, colored, and twisted into a tie-dye of soundscapes. Having toured incessantly over the last 12 months as a four piece (Jarvis Taveniere, G. Lucas Crane & Kevin Morby round out the band), many of the songs on Shame benefit from having been road worn, windblown, and deeply grooved.

REAL ESTATE- REAL ESTATE LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… “Real Estate waft in on vibes of hazy summers past. The New Jersey quartet of Martin Courtney IV, Matthew Mondanile III, Etienne Pierre Duguay and Alex Bleeker cut the sleeves short and the pop smooth to shade you from the midday heat. Every song works its way to that part of your consciousness that reveled in the fleeting waves of freedom that eked in once classes broke and the sun lingered a little longer over suburban roofs. And with three quarters of the band holding down Garden State roots it's no surprise that a bit of Jersey indie-pop heritage sneaks its way into their sound, lifting the most sun streaked moments from The Feelies and Yo La Tengo and filtering them through the kaleidoscope of memories aimless drives through parched neighborhood streets. Martin Courtney's songwriting has a way of wrapping up the immediacy of youth with the ennui of age for the perfect shade of bittersweet bliss, mind you though, much heavier on the sweet than the bitter. Add to this Mondanile's (Ducktails/ Predator Vision) shimmering guitar strains full of equal parts sea foam and beer foam, pepper in the boardwalk clatter of Duguay's drums Bleeker's staccato low end and the perfect afternoon is just a lawn chair and boom box away." --Andy French/raven sings the blues

KURT VILE- CONSTANT HITMAKER LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… "Constant Hitmaker's songs are varied and twisted in their arrangements, but most often include exquisite melodies floating atop a bed of hissing psych-pop experiments that fall together as nearly perfect pop songs. The album is steeped in an atmosphere of four-track recording and homespun obscurity, however it frequently, almost if by mistake, references a collection of some of pop music's best: My Bloody Valentine are felt on 'Space Forklift,' Lee Hazlewood's spirit haunts 'Slow Talkers,' and Lou Reed adorns 'Don't Get Cute.' All this without mentioning the album's most distinct song, 'Freeway,' the lone studio recording and a piece of music that will become lodged in every head that hears it. Constant Hitmaker comes off a bit straighter than anything on the Siltbreeze label, but more lovingly deranged than most every other indie rock album. It's something noteworthy, no doubt, and not just because it lives up to its title." -- Skyscraper Magazine

PSYCHEDELIC HORSESHIT- SHITGAZE ANTHEMS MLP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… After about a 2 year absence, Psychedelic Horseshit is back with an EP of alleged B-sides from an upcoming full length. And what has happened since we last peeked in on these 'shitgaze' innovators? Well, in parts all over the world that famous 'distorto-lo-fi-sound' has been popping up in quite open spaces. No Age has become the new Brittany Spears, Wavves crashed in outta nowhere like a mid-nineties major label grunge signing, and cute and sweet Vivian Girls are playing on the speakers in Target stores nationwide. What does this have to do with the new Psychedelic Horseshit EP? Well, nothing really, except that if you expect to hear that tried and true lo-fi sound, that is now so en vouge, you might be a little disappointed cause these boys have cleaned up a little bit, and from the sound of things this might only be the beginning. 'I only listen to OK Computer and Cranes. The Fall sucks, DIY sucks, we suck, you suck.' said Matt Horseshit in a recent interview. 'Why should anyone listen to you then?' replied the reporter. 'Because we're FUN, duh.' And even though you wanna hate 'em, you gotta admit, they kinda are fun. Matt is a dick, of course, and Rich is hilariously clueless mostly, and by all means most of the stuff on this Shitgaze Anthems EP shouldn't work, whether it be the white-boy dub section, the cliche acoustic ballad with backwards guitar, the blatant Dylan rips or the overall amateur playing, but for some reason these elements that usually reek of pretention and failure actually endear you to the band and their songs. Yes, they're called Psychedelic Horseshit. Yes, they do suck, but I'll be damned if they aren't one of my favorite bands in the world, and they're only getting better, but if I tried to tell you why it'd only make 'em sound worse. So it goes.

GANGLIANS- GANGLIANS LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Sacramento's Ganglians want an island somewhere where they can soak in the sun and prowl the canopy by night. It's not often that they do get out, but they can get down for that. Recording sometimes as one, sometimes as four it's a real game to figure out where the entity comes from and where it's going. First and foremost it's about uncertain pleasures. It's a bit like choose your own adventure. There's 'codeine balladry'; a slightly upsetting tempo that is quickly flushed into an aural high, the next moment you're in the toy strewn abyss of the bedroom and then out to the tribal caves of the natives. The planets align and the sun beats down, palms tingling, and you are on the island they've built, the scenery constantly shifting for a better view, of you.

MAGIC LATERN- MAGIC LANTERN LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Magic Lantern came into being at the mid-point of the decade, sparked into existence by a simultaneous period of musical discovery for Philip French, William Giacchi, and Cameron Stallones. Inspired by the psychedelic approach to musical tone and structure in various eras and genres of rock (not at all excluding Germany and Japan in the '70s), the three realized they ought to make use of the new creative tools they'd stumbled upon, and began jamming the summer away in twin poles of Long Beach and Whittier, CA. Over the course of a year, they recorded every jam and compiled a full-length's worth of home-studio demos which later became their self-released CD-R. At the same time, each member was developing solo and side projects to channel parallel universes of sound. A year after their first jam together, Magic Lantern decided to make the leap to playing live and recruited good friends and like-minded musicians Chip Knechtel and Gavin Fort to be their marathon rhythm section. The jams from their CD-R were used as the blueprints for the band to develop a raw, stripped-down sound that emphasized hypnotic rhythms and improvised guitar duels. After being invited to play at the Tee Pee Records showcase 'Manifest Destiny' in August of '07, th' Lantern kept up a steady diet of shows in L.A. and Long Beach for the next year, earning a local following and two highly limited tapes on Not Not Fun Records. Through the spring of '08, they began writing new material as a band and developing the new songs live. In the summer, they recorded these jams with sound wizard Bobb Bruno, which led to the Not Not Fun LP High Beams that September. At this point, the band had fully emerged from transition into a shared creative vision of five musicians, each possessing a singular voice, all united in the common goal to engage both mind and body through good vibrations.

MOON DUO- ESCAPE LP (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… San Francisco's Moon Duo was formed in 2009 by Sanae Yamada and Erik Johnson (Wooden Shjips). Inspired initially by the legendary John Coltrane and Rashied Ali, Moon Duo counts such variant groups as Silver Apples, Royal Trux, Moolah, Suicide, and Cluster as touchstones. Utilizing primarily guitar, keyboards, percussion, and vocals, the pair plays space against form to create a primordial and disorienting sonic stew. They released two acclaimed records in 2009: the Love on the Sea 12-inch single on Sick Thirst and the Killing Time EP on Sacred Bones. Escape, their debut long-player on Woodsist, marks the fullest realization yet of the young group's evolving sound.

PUNK AND POST-PUNK

THE BEETS- SPIT IN THE FACE OF PEOPLE WHO DONT WANT TO BE COOL LP (captured tracks, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked, out of print from the label… Debut twelve-track LP from these proud sons of Jackson Heights, Queens. Sprung from seemingly nowhere to playing constantly in Brooklyn. Shades of Los Mockers, Chicos Electricos, pre 65 Stones, early Ramones and Shimmy-Disc era Daniel Johnston. I saw these guys almost start a riot at a Fashion Week event and then proceed to party down with Mickey Rourke. Absolutely amazing. Beautiful full-color sleeve by Matt Volz.

THE BITTERS- WOODEN GLOVE LP (captured tracks, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked, out of print from the label… The Bitters are the Cave Pop stars of the future.

BLANK DOGS- PHRASES 12” (captured tracks, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*...Occasionally calling in collaborators from the likes of Crystal Stilts, Vivian Girls and Times New Viking, Phrases, MIKE SNIPER’s latest EP in a long succession of vinyl-only releases, sees him going it alone for the most part. Indeed, it's hard to envisage anyone else being allowed sufficient mindspace to create alongside Sniper, such is the vast propensity of ideas that fill the four tracks here. While the opening electro-tinged robotics of 'Heat And Depression' resembles a Crystal Castles outtake, Sniper mumbling ‘Can you see yourself?’ with surreptitious repetition over a distorted funky bassline, it's on Phrases other three tracks that his more obscure influences start to take hold. 'Blurred Tonight' takes The Cramps' danse macabre schtick through the same backdoor as The Horrors managed so successfully last year, except with even more menacing vocal assertions courtesy of that man Sniper. His voice then gets the heavily reverbed treatment on 'Racing Backwards', a Cure-inspired number that sees the opulent Sniper make the offer ‘stay to the end’ which becomes increasingly difficult to refuse as verse usurps chorus. Despite BLANK DOGS’ NYC dancefloor tendencies, there's something inadvertently English about these compositions, suitably realised in the closing 'End Of Summer' which takes Depeche Mode's early Roland Jupiter-led blueprint before mashing it into a collage of post-punk ambience, beats and all... -Drowned In Sound

BLANK DOGS- SECONDS 12” (captured tracks, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked, out of print from the label… Four new tracks of Blankdoggica. Silkscreened sleeves." -Captured Tracks. New release on Mike Blank Dogs label.

BRILIANT COLORS- HIGHLY EVOLVED 7” (captured tracks, usa)
8.98usd/5.38gbp/5.96eur/786jpy (approx)

*shop favorite restocked, out of print from the label… girl trio, like LiLiPUT meets K! Records-style. Their 2nd 7". You have the first on Make a Mess, right? both singles will be combined on a 12" EP coming this summer with one exclusive track.

BLESSURE GRAVES- LEARN TO LOVE THE ROPE 12” (captured tracks, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Doomsday duo make it to the large format.

THE MAYFAIR SET- ALREADY WARM 7” (captured tracks, usa)
8.98usd/5.38gbp/5.96eur/786jpy (approx)

*shop favorite restocked, out of print from the label… Dum Dum Girls and Blank Dogs co-op band. More, more sad hits. (Reference intentional.) Slightly oversized envelope sleeve. Half w/ silver print, half w/ gold.

13TH CHIME- LOST ALBUM LP (sacred bones, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… follow up to Sacred Bones’ release of the singles from 13th Chime which collected the scant few recordings released during their brief lifetime as well as a handful of heretofore unheard demos and alternate recordings. With their blend of dark driving aggression and sparse arrangements for a brief moment in time the band seemed poised to breakout of the day to day of slogging it out in clubs and onto the international radar but through a series of mishaps ended up a footnote and dissolving into obscurity. In the liner notes which told of the 13th Chime’s formation and brief ascent as deathrock contenders it was noted that there was a number of recordings that were intended for a full length release and were subsequently shelved at the 11th hour due to record company politics. Sacred Bones Records is now proud to bring to light the long-lost lp. After languishing in the vaults for several decades the 13th Chime full length finally sees the light of day. The cd version collects both the full length and singles collection plus one bonus song called “Pigs” on one disc and includes detailed liner notes that chart the band’s rise and fall.

13TH CHIME- THE SINGLES: 1981-1983 LP (sacred bones, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… We are proud to announce the release of the 13th Chime singles collection. Long sought after by collectors, the UK band only released a scant three singles in their time together before dissolving into obscurity. Their sound—a merging of deathrock’s dark driving aggression and post-punk’s sparse arrangements—reflected the realities of life in a small market town in the desolate political landscape of early 80s Britain. In cooperation with the band members Sacred Bones has collected 13th Chime’s three singles plus rare never before heard demo recordings of “Tinker Man,” “Radio Man,” and “13th Victim.” Detailed liner notes by Clive O’Grady tell the entire story—from schoolmates in the Suffolk town of Haverhill to tours with The Enid, Theater of Hate, support slots with The Adicts and Dead Kennedys, and an inevitable breakup, making friends and fans out of John Peel and The Groundhogs’ Tony McPhee along the way.

BLANK DOGS- DIANA: THE HERALD MLP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… The second 12" offering from this mysterious bedroom synth project that’s been shrouded in secrecy from the start. Blank Dogs lives in the grey space between early Minimal Synth pioneers and current experimentalists like Blues Control and Excepter. Offensively limited cloth-bound edition is long gone. So is the orange cover. Get your copy of the Green & Black pressing while quantities last!

BLANK DOGS- ON TWO SIDES CD (sacred bones, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*shop favorite restocked… Sacred Bones presents the cd version of the first Blank Dogs full-length On Two Sides--vinyl was released (and already oop) earlier this year via Troubleman Unlimited. The first long-playing release and the first non-vinyl appearance (save for a very limited run cassette release of this album via Fuckit Tapes) from bedroom punk's new crowned prince of home-recorded DIY synth dementia. After a string of highly coveted and now mostly out of print singles and EP's On Two Sides finds the band holding attention in the long form. Buried under the layers of distortion, fuzz, and synth lines are pop hooks that call to mind The Bats and The Chills as much as Helios Creed or Debris. Psychedelic punk for fans of the more minimal and electro tendencies of the Komische. Which mask will you wear during Blank Dog Time?

CHILDREN’S HOSPITAL- ALONE TOGETHER LP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Alone Together is the debut release from Children’s Hospital. If their despondent sounds remind you of something you may have once heard its because this is the latest project from the A-Frames/Intelligence/Rodent Plague/AFCGT axis. Reminiscent of the brooding and gray skyline of their hometown of Seattle the duo hover between abstract soundscape compositions, Jandek inspired bouts of melancholy droned out dementia, and stripped apart abrasive punk...often combining several of the forms at once. If recent Rodent Plague releases on Killshaman and Jerkave Tapes are any indication it would be ill-advised to sleep on Children’s Hospital.

THE CULTURAL DECAY- EIGHT WAYS TO START A DAY: SINGLES & DEMOS LP
(sacred bones, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Cultural Decay existed from 1980-1982. The band’s collective discography is comprised of a highly sought after 7" single and two song 12" EP. The latter was produced and features additional accompaniment by future Revolting Cocks co-founder Luc Van Acker. The band played a total of 15 gigs in local clubs—with like minded Belgian acts such as Struggler, De Brassers, and Siglo XX—before disbanding. Eight Ways To Start a Day is the first official release in close to three decades from this fabled Belgian coldwave band. Their sound, a collision of ethereal one-note synth lines and dark post-punk aggression, recalls the controlled ferocity of Crisis and The Southern Deathcult at their best. The recordings on these releases comprise the band’s entire recorded output and both the LP and CD include an extensive booklet including photos, liner notes and a comprehensive band history from member Joseph V. In addition to the previously released songs the LP includes three unreleased demos, “Eight Ways to Start a Day,” “Thin Rope,” and “Exit Calls.”

DAILY VOID ECLIPSE OF 1453 MLP (sacred bones, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*The third installment in Sacred Bones’ 12-inch EP series comes from Daily Void. The Chicago band which includes 3⁄4 of the Functional Blackouts and who cut their teeth with singles for Boom Chick, HoZac, and Florida’s Dying pick up where they left off on their previous full length with a half dozen songs of disjointed, death-tinged noisy punk. Shades of Rudimentary Peni and some off the lesser celebrated acts on Crass Records course through this slab of vinyl.

FACTUMS- FLOWERS LP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Flowers is the latest full length from Seattle’s bleak and ominous Factums and is their second for the Sacred Bones label. Recorded between 2006 and 2007 but only now seeing a proper release, Flowers is dark and disturbing. The album has twenty two tracks that fluctuate from sound collage to soundtrack-esque moments as well as more structured songwriting. This album also has flashes of abrasive electropunk that has garnered them well-deserved comparisons to Chrome, Cabaret Voltaire, Throbbing Gristle and much of the early Wax Trax catalog.

FACTUMS- THE SISTRUM LP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Full-length follow-up to the resurrected Sitlbreeze label lp circa a couple of years ago from this band that vaguely circles in the A-Frames/Intelligence/Fruit Bats orbit. Critics have compared Factums to Tronics, Cabaret Voltaire, or Pere Ubu’s more chaotic moments also citing some heavy Kraut influenced flashes.

GARY WAR- HORRIBLES PARADE LP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Horribles Parade is the new full length from Gary War. This is the second album and the followup to last years’ New Raytheonport LP on SHDWPLY Records. The album expands on the more stripped down sound of his Sacred Bones “Zontag” single, plying layers of warm fuzz and feedback on top of psychedelic pop song structures. The CD contains “Anhedonic Man,” previosly released as a one-sided single on Hell Yes! records, as well as the whole Galactic Citizens 12" EP, soon to be relased on Captured Tracks.

MOON DUO- KILLING TIME MLP (sacred bones, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Moon Duo is a project of Wooden Shjips guitarist and singer Ripley Johnson. Under the Moon Duo moniker, Johnson and collaborator Sanae Yamada create expansive Krautrock influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard. This four song 12-inch is the second release and incorporates a much more concise, composed and driving sound than before. The Duo expand on ideas only hinted at on the Sick Thirst 12-inch (which is already long gone) adding a driving drum machine beat behind the thick walls of layered sound. Don’t sleep on this one.

NICE FACE- IMMER ETWAS LP (sacred bones, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Immer Etwas is the first full-length release from this one-man bedroom recording project turned full on 5-piece live band. nice face have been turning out singles, comp tracks, and cassettes at a steady clip over the past two years and change. This album is a solid thirteen tracks of drum-machine-driven blown-out hook-laden punk rock. The live the band now counts members of livefastdie and imaginary icons among its ranks.

THE REBEL- NORTHERN ROCKS BEAR WEIRD VEGETABLE LP (sacred bones, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Sacred Bones Records presents Northern Rocks Bear Weird Vegetable—the next full-length from London, England’s The Rebel. The alter ego of Country Teasers’ Ben Wallers, The Rebel dates back to the tail-end of the 80s—having existed side-by-side throughout Country Teasers’ prolific career—often releasing records at a steadier clip than Waller’s main project with songs too madcap to fit into even their William-Burroughs-by-way-of-The-Residents take on country music. Wallers’ characteristic self-aware irony and surreal gender/race ruminations are still present but sitting backseat in this more fleshed out concept album about decaying conditions on the planet 3AR7H. Although Burroughs comparisons are inevitable, Northern Rocks Bear Weird Vegetable could only have been scripted by The Rebel. The album’s narrator is in a band, has a valet named Mulholland, but inhabits an otherwise unrecognizable dystopian landscape where evil science laboratories combat college radio personalities, and nuclear war with Iran is well underway. Important issues of today and tomorrow are touched on. In “Why Must I Pay?” Mr. Thatcher, a future Prime Minister, is excoriated for the rising costs of tea, rent, drugs and sex. In “Scarlett Johansen Conceiving the Design&8221; we are shown a horrific world in which starlets replace scientists as consumerdom’s inventors. In “You’re Just Like Tammy Wynette” the Radical Islam Problem is diagnosed by looking at the politics of ladies headgear, while in “Turtle v. Octopus” a battle between Lovecraftian ancient adversaries plays out, potentially affecting the future of Music itself. This is the first Rebel album to be recorded in the studio with a live backing band...that band being the Country Teasers. In terms of sound, Northern Rocks Bears Weird Vegetable exchanges The Rebel’s clautrophobic home studio layers and d.i.y. effects for the improvisational band chemistry and controlled looseness of Country Teasers’ infamous live act.

ZOLA JESUS- STRIDULUM MLP (sacred bones, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Since her debut lp for Sacred Bones last summer, Zola Jesus’s profile has grown exponentially. Her video for “Clay Bodies” debuted on The Fader and her likeness was plastered all over the Internet. The Spoils made dozens of year-end lists including The Wire, Pitchfork, The Fader, and Dusted, and fans and critics alike now seem rabid for new material. So without further ado, we present Stridulum, the new, far less lo-fi 6-song EP from Nika Roza Danilova. Recording her vocals for the first time with professional instruments, Nika’s voice is brought to the powerful forefront of the mix unleashing the full range of emotions that had previously only been hinted at in her previous work. It’s a siren song for the apocalypse, which manages to come across immensely nurturing at the same time. Born and raised in the backwoods of Wisco, Nika Roza was literally raised by wolves (well proximally anyways). Trained as an opera singer from a young age, she applied to Julliard. At 10 years old. Rejection didn’t slow her down, though, as she went on to complete high school in three years and is set to graduate from university with a double major in French and philosophy in the same amount of time. As soon as school’s out this summer, she will begin touring full time with a full band on both sides of the pond. Until then please keep an eye out for weekend excursions and the requisite standard umpteen SxSW shows. Her next full length will not be ’til 2011, but we feel pretty certain this will tide you over until then. Pas mal pour une femme qui n’est pas assez vieux boire légalement, eh?

DUM DUM GIRLS- I WILL BE LP (sub pop, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… debut full-length by the Dum Dum Girls. Produced by Dee Dee and Richard Gottehrer (Strangeloves, Voidoids, Blondie, The Go-Gos and, more recently, The Raveonettes), I Will Be is neither lo-fi nor too polished. Just under thirty minutes with eleven songs, it’s a short tribute to love, fun and the classic pop form of the ’60s girl groups and early punk rockers… Led by Dee Dee, Dum Dum Girls churn out pop music that adheres to her self-proclaimed M.O.: “blissed-out buzz saw.” Dee Dee formed DDG in late 2008 as a solo project—the name a nod to both The Vaselines’ album, Dum-Dum, and the Iggy Pop song “Dum Dum Boys”— and released a home-recorded CDR on her label Zoo Music followed by a 7" on HoZac and a 12" EP on Captured Tracks. When Dee Dee needed a band to take her songs out of the bedroom, she looked to her friends: Jules (guitar and vocals), Bambi (bass), and Frankie Rose (drums and vocals). When the other three met for the first time a week before CMJ 2009, it was an instant girl gang. Dee Dee wrote and recorded the songs that became I Will Be over the first eight months of 2009, and she asked a few others to contribute. Yeah Yeah Yeahs guitarist Nick Zinner plays on “Yours Alone.” Crocodiles’ Brandon Welchez sings and plays guitar on the duet “Blank Girl.” And Los Angeles musician Andrew Miller contributes guitars to a number of tracks. When it came time to choose someone to gently finesse I Will Be, the name Richard Gottehrer came up on Dee Dee’s wish list. Responsible for writing such seminal songs as “My Boyfriend’s Back,” and “I Want Candy,” he also produced his own short-lived band The Strangeloves, as well as The Voidoids, Blondie, The Go-Gos, and more recently, The Raveonettes. Marvels Dee Dee, “I gave him all the rough tracks and he produced them, as I had a lot of digital effects acting as sort of placeholders. I’m not exactly sure what he did, but it’s a world of difference. The songs sound warm, and they kind of sparkle.” I Will Be runs just under thirty minutes with eleven songs; a short tribute to love, loss, fear, fun, and the classic pop form of the ‘60s girl groups and early punk rockers. Explaining the album’s dark-and-sunny feel, Dee Dee says, “There’s an overdramatic tone, much like a teenager’s world, but applied to the experience of getting older.” No track better exemplifies that sentiment than the somnolent “Rest of Our Lives,” a lullaby about marriage that captures, she says, “that feeling when you’re 16 and you think you’re going to be with your boyfriend forever. And that you’d just die if you weren’t. Except it’s about my husband.” On the other end of the spectrum, “Bhang Bhang, I’m a Burnout” (the curious spelling being slang for marijuana) spends roughly two-and-a-half minutes musing on the virtues of psychedelics. And “Lines Her Eyes” touches on petty girl-on-girl competition, while “Jail La La” updates the Bobby Fuller Four’s “I Fought the Law” with a reverb-laden sing-along. What’s with the bipolar songs? “I tend to be an introvert. So there’s a lot of time for weird thoughts to develop in my head before I put them down on paper,” says Dee Dee. “And it’s really bizarre living in Southern California. It’s that total stereotype of being super-laidback, this ‘everything’s perfect’ vibe. But you’re miserable in the sun because you’re stuck. Like, it’s so perfect that it’s overwhelming and depressing. That’s sorta inspiring.”

GREY AREA

POCAHAUNTED- MAKE IT REAL LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked, this time just barely making it to the update w/o selling out first… After a six-month hiatus, a complete line-up overhaul, a trip to SXSW, a UK/EURO tour, and a full year-plus of only playing shows and writing songs and amassing totemic objects, finally Pocahaunted return to the recorded realm with their first album since 2008. Time flies when yr having not not fun and all that. Make It Real collects seven of the band's 2009 live staples for a 40-minute-ish collage of basement body music, garage dub damage, outsider funkadelic sprawl, voodoo rhythm workouts, duo femme soul vocal dynamics, dripping gold sweat, and dream fulfillment. Recorded barefoot and shirtless and direct to tape at Green Machine Studio in summer '09 by M. Geddes Gengras and featuring guest bamboo sax by jazzmaster Alex Gray (of Dreamcolour/Deep Magic) and mastered by James Plotkin.

V/A- MY ESTROGENERATION LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*First ever NNF vinyl compilation (more in the future hopefully?) finds the spotlight landing fairly on the fairer sex, and the glare is glorious. 11 diverse femme musical energies corralled across 12 inches of black vinyl, all exclusive contributions, and the breadth of zones and interzones traversed is a beautiful thing to hear. Carry on my wayward non-sons. LPs in jackets with artwork by Pocahaunted bassist/scholar Diva Dompe, plus a full-color double-sided insert. Edition of 500. This year's Estrogeneration includes: Zola Jesus, Tickley Feather, Pocahaunted (vintage unused track from Gold Miner's Daughters sessions), Inca Ore, Topaz Rags, HNY, Talk Normal, Islaja (featuring Samara Lubelski and Blevin Blectum), L.A. Vampires, U.S. Girls and Valet.

TOPAZ RAGS- CAPRICORN BORN AGAIN LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Grey clouds stay grey. Low light situations birth low-lit moods. It's all bummer clockwork. West Coast lurk-jazz triad Topaz Rags return to vinyl with their debut long player, Capricorn Born Again, an eight-song comedown recorded/mixed from spring-to-fall of '09 via a complex 4-track/boombox assemblage method. Everything creaks and hisses, there's smoke in the air, players at the end of their ropes, lyrics washing over faded raga ballads, slinky electric piano bar depressions, shadow gauze cavern pop. The bell jar is half empty, obviously. Slow dive and sink in. Black vinyl LPs (mastered by Pete Swanson) in jackets designed by Amanda. Edition of 400.

SEX WORKER- THE LABOR OF LOVE LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Still waters run deep but wild waters run deeper. Both when fronting San Fran free-punk body-music trio Mi Ami or performing angst-dance psycho-dramas under his solo alias, Sex Worker, Daniel Martin-McCormick always succeeds in generating total motion (and emotion) and breaking the fourth wall. His vision of tranced/anguished rhythm questing hits an apex on The Labor Of Love, his LP debut under the Sex Worker guise, and we've been soaking in its dark arts for months. Pulsing, lo-fi kraut electronics bubble and sputter under hazy arcs of weirdo vocal smear. Escapist disco drum machines cruise into the horizon under a canopy of dubby accents and FX percussion, sometimes peaking in harsh frenzies of echo-scream meltdowns. All three pieces function as anthems or elegies or protest songs articulating Daniel's heavy anti-sex trafficking/enslaved bodies activist agenda but you don't have to know the depths of the ethical framework to grasp the vibe. An intensely unique and hyper-personal statement from one of our favorite West Coast music-dreamers. Black vinyl LPs in jackets designed by the artist. Edition of 450.

BLANK REALM- HEATLESS ARK LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Vinyl debut by this consistently impressive Australian psych collective with 2 previous cassette albums on NNF. This one finds them moving into weird-punk song terrain, almost a fried improv no-wave vibe in places. Beautifully silkscreened sleeves.

INCA ORE- SILVER SEA SURFER SCHOOL LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Eva Saelens' life quest has taken her from Michigan to Oregon to Oakland back to Portland and back again, with several overseas explorations and inner journey road trips thrown in for good measure. Whatever path she's on is long and winding and hidden in the shadow of overhanging cherimoya trees. Fortunately she maps her migrations with haunted, exotic breath-and-electricity sphinxes ranging from 2006's Brute Nature Vs. Wild Magic to 2008's brainwashing Birthday Of Bless You LP. 2009 finds her offering up another psychic harvest unto the world, Silver Sea Surfer School, a new nine-song pipeline ride that floats through a whole new web of voice orbs and tape hiss and keyboard balladry. If anything, Silver Sea is Saelens' weirdest hour, layered in abstract environments, whispers, distant poetry, free percussion loops, with sudden passages of heart-dissolving ghost-piano beauty ('Shine On From The Heaven Above,' 'Adventure In Light'). Heavily impressive, and a brave pearl-dive into even more personal waters for the Inca Ore lifeforce. LPs come in jackets with art by Saelens, plus a full-color insert." Copies are on white-colored vinyl or blue/white swirl-colored vinyl or just regular black vinyl; no matter what color you get, you'll still feel pretty baked by the end of side 2.

HEAVY WINGED & INCA ORE- RING MINING LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Wild collaborative LP by these 2 deep psych visionaries. One side is a studio collab merging HW's pummeling psych-frenzy with cascading waves of IO-keyboard bliss. The other side is a rare, unhinged live recording of the single time these outfits ever performed together...imagine HW with a freaked out lead singer. Strange and great.

LITTLE CLAW- HUMAN TASTE LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Portland, OR-by-way-of-Michigan garage gang Little Claw first tripped our radar with their self-released Why Not 7 inch, which was/is raw and physical and swingin' in all the ways you want a 7" to be. Their LA live shows proved even more ripping and charged; we were sold. So we sprung at the offer to enshrine their latest (and best) album, Human Taste, on vinyl for the world's turntables to adore. Packed with classic, cracked anthems ('Frozen In The Future,' 'Colors You Drown'), basement weirdo stompers ('Modern Vampire,' 'Breathing Tape,') and naked art-punk riddles ('Lay To Waste,' 'Summerphile'), the LP's two sides are slyly sequenced to seduce, blind, and devour, demonstrating a rad range of attacks, escapes, claws, tongues. It's a great late summer record: between styles, beyond genres, and aggressively alive. Taste theTaste. Black vinyl LPs in jackets with art designed by the band, plus a pro-printed, double-sided 11x17 poster/insert. Edition of 600. CD edition available on Ecstatic Peace.

WET HAIR- DREAM LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*When Iowa City freak-out free-rockers RACCOO-OO-OON called it quits last year it left a bummer scar in the Midwest underground scene. But time is a great healer, and so are new bands. So out of the ashes of the RAC pack comes WET HAIR, a synth-punk-trance duo composed of keyboardist/vocalizer SHAWN REED and keyboardist/drummer RYAN GARBES, and Dream is the band’s debut vinyl full-length after a series of increasingly shredding limited-edition cassettes on their own Night People label. Piling together an unlikely trash heap of Suicide-style drum machine beat-bops, zone-droned krautrock keys, and fucked up outsider crooning, the LP’s four tracks careen across a spectrum of moods and mangled melodies. Wet Hair’s cult electric annihilation has never gleamed with such razor-edged weirdness; this is their dream made real. Black vinyl LPs in jackets with artwork by Reed and Garbes, plus a pro-printed full-color 11x11 insert.

WET HAIR- GLASS FOUNTAIN LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Welcome back. One of NNF's total favorite active bands return with a second full-length (most of which was recorded during the same sessions that birthed their debut LP, Dream) and we are pleased as spiked fruit punch. The Reed/Garbes duo mainly sticks to their guns, mining the same post-Suicide art-trance vein they perfected on Dream, but with Glass Fountain there's an added emphasis on the disembodied, oscillator pop mode that Wet Hair often toy with. Fountain's five tracks include some of the band's simplest but catchiest songs ('Crucifix In The Waves,' 'When The Right Time Comes,' etc), mesmerizing organ melodies over plink-plonky vintage drum machines with weirdo soulful singing and outer space electronics, like an outsider-punk Silver Apples or something. Hard to say exactly what universe Wet Hair are operating in and that's probably part of why we love it so much. A killer record that gets better each spin. In jackets with art drawn and designed by the band, plus a pro-printed 11x11 insert. On opaque lavender-colored vinyl.

HEATHER LEIGH MURRAY- JAILHOUSE ROCK LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*It's been a while since Scorces sorceress, Jandek collaborator, and Volcanic Tongue branch manager Heather Leigh has ventured out on vinyl under her own name. And it may be a while longer, as Jailhouse Rock is in fact a wax reissue of a long OOP 2006 cassette classic on Michigan crud factory Fag Tapes. It was a fave of ours that year (and every year), so it feels extra celebratory to be able to offer up a freshly remastered (by Pete Swanson) LP edition of the album for global re-appreciation. Sprawling, long-form descent/ascents into mythic electric disorientation, powered by her trademark recipe of FX-soaked pedal steel and voice. Jailhouse feels loosely more aligned with a mid-aughts drone/noise aesthetic than the outsider dirt road Americana of her Devil If You Can Hear Me LP (also on NNF), but the distinction is a slight one. Side A swims in swooping sheets of vox and tempestuous wind tunnel dynamics before slowly dying away to wheezing disembodied harmonica. The B piece begins in a more overtly beautiful mode, a trinity of crystalline notes picked and stretched until they're transformed into a rapturous sky of textural distortion. Sensual and vertigo-inducing in equal measure. Black vinyl LPs in jackets with brand new paint/collage artwork by Heath Moerland (of Sick Llama, Slither, Odd Clouds, etc). Edition of 400.

EMACIATOR- COVETING LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*nnf back catalog title in stock for the first time… Misery wears many masks, but Tulare, California fatalist JON BORGES has etched his mark on most of them. For at least half a decade he’s pursued increasingly suicidal tendencies under his PEDESTRIAN DEPOSIT guise (which is currently on hiatus), splicing subdued loops of morbid beauty against savage canyons of harsh noise histrionics. Lately, though, he’s been straying more and more from this aggressive exercise in contrasts in favor of his EMACIATOR alias, which draws from the same dark wellspring of bitter memories and bipolar rage but, instead of unleashing it in grand frenzies, bottles everything up inside until it seeps out the pores. Early efforts/cassettes retained a strain of buzzing nausea reminiscent of his PD days, but the last 12 months have witnessed a complete abandonment of any ties to the past. Times are still bleak, sure, but the gray prisms of brooding ambience Borges now conjures and slowly collapses convey a depth of mood and subtlety far surpassing simple signifiers like Indifference, Resentment, Remorse. Coveting collects together five exquisite Emaciator compositions (including two particularly riveting songs that were debuted live at Echo Curio last winter) for a harrowing 40 minutes of troubled solace, crisscrossing suicide guitar lines, and entranced self-reflection. Meditation is a myth; desire does not sleep.

MYTHICAL BEAST- SCALES LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*nnf back catalog title in stock for the first time… vinyl edition of this nomadic psych-soul trio's beloved 2008 studio debut, released on CD on Greg Weeks' Language of Stone label. this edition has swank glossy jackets, plus an 11x11 pro-printed insert, on colored vinyl. one time pressing of 500.

ODD CLOUDS- DECEIVING ILLUSION LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*nnf back catalog title in stock for the first time… A thousand years ago, in 2006, Michigan moonlighters ODD CLOUDS drizzled down their LP opus, The Cavernous End. Within the sphere of open-eyed freeform organized psych-jazz sprawl, nothing compared. Years later that album still kills, but not much has followed in its wake (there have been some loose tapes but those roll in a cruder basement fuckaround vein). So we are personally xxtremely pleased to be able to finally offer up the band’s latest album-length affair, Deceiving Illusion. A six-song spelunk into the deranged group brain responsible for noise scene mainstays like Fag Tapes and Tasty Soil Records, Illusion rumbles through a hall of mirrors of zones/styles, from freaky garbage punk to robot throat games to motorik brass meditations to unhinged ‘70s German commune beardo psych-blazers. The journey is the destination and all that. Abuse yr Illusion. Black vinyl LPs in stunning 4-color pro-silkscreened jackets with artwork by CHRIS POTTINGER and JAMIE EASTER, plus a double-sided photocopied insert. Edition of 400.

TEETH MOUNTAIN- LIVE ON LP (not not fun, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*nnf back catalog title in stock for the first time… The follow-up to last year's well-received full-length of collaged live performances released on Shdwply. This is another half hour-plus of the Baltimore drum/drone collective at their most zoned and loose-limbed.

ROOTS

REV. LOUIS OVERSTREET- HIS GUITAR, HIS FOUR SONS AND THE CONGREGATION OF ST. LUKE'S POWERHOUSE CHURCH OF GOD IN CHRIST LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… eissue of the Arhoolie LP recorded in 1962 at Overstreet's church in Phoenix, Arizona with a slightly altered track listing. Includes two tracks previously unissued on vinyl. Recorded very live during a church service. Rev. Overstreet plays electric guitar and bass drum in his own driving & intense style while his four sons and the congregation take care of tambourine, backup singing and hand claps. A powerful record of gospel energy and testament." With insert. Licensed from Arhoolie.

JOSEPH SPENCE- BAHAMAN GUITARIST: GOOD MORNING MR. WALKER LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Reissue of the Arhoolie LP recorded in 1971. Joseph Spence was a highly original guitarist and vocalist from the Bahamas. His music is hard to describe - extreme guitar runs with joyful vocalese rambled along with it. This album includes hits such as 'Out On The Rolling Sea' and 'Sloop John B.' One of our favorite LPs of all time. Silk screened cover glued over a hand manufactured Folkways style cover. Licensed from Arhoolie.

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HOURS

monday: 12:00-6:00pm/est

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NEW ARRIVALS/RESTOCKS FOR THURSDAY, JUNE 17

2010-06-18T09:20:00.000-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, JUNE 17

thanks for looking.

running late again, but hey, better late than never… sorry for the delay! tons more solid goods for your perusal, all perfect listening material for the summer days ahead… read about em here or for optimal results, come on by the shop and check em out in person. as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

SABBATH ASSEMBLY- RESTORED TO ONE LP (ajna offensive, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Restored to One is a modern response to the musical activities of a cult known as The Process Church of the Final Judgment, who used music to spread their visions of Gnostic reconciliation in a time of cataclysmic change. Sabbath Assembly has re-charged the original hymns of The Process Church and worked them into moving renditions that unite the trinity of rock, psychedelic and gospel into one triumphant re-awakening. The Process Church was an intensely creative, apocalyptic shadow side to the flower-powered '60s and New Age '70s. The influential group opened Chapters in London, Europe and across the United States. Dressing in black cloaks and walking the streets with German Shepherds, they created their own intricately designed magazines, and promoted a controversial, quasi-Gnostic theology that reconciled Christ and Satan through deeper awareness and love. Funkadelic reproduced Process writings in two of its albums. The Process Church was accused of being part of a Satanic underground conspiracy by true crime pulps, most notably Ed Sanders’ The Family, which linked the Church to the Manson murders. The insider’s perspective of this secretive group and its true leadership recently emerged with Feral House's LOVE SEX FEAR DEATH: The Inside Story of The Process Church of the Final Judgment, written by former members including Timothy Wyllie, and edited by Adam Parfrey.

BILLY GREEN- STONE O.S.T. LP (finders keepers, uk)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Meet Stone. The trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. "Stone Is A Trip... The grave diggers are on the move - a new breed of motorbike gang" The screen fills with images of slo-mo bike accidents, hallucigenic trips and a death defying cliff stunt which could easily mistaken for a doppelganger scene in Psychomania. "Vietnam veterans with their own style of life, their own rules, their own religion." The scene swathes to a satanic ritualistic burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces.
To many global record collectors, DJ's, music producers and general retrophiles living outside of Australia "Stone" was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines... In the 80s and 90s, before the global DVD boom, Stone to many people was first and foremost a Soundtrack... The kind of soundtrack that makes you wish you could see the film but it'll probably never happen. The LP artwork alone was beyond enigmatic with its contradicting embroider logo (designed by sandy) alongside its striking futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realised by airbrush whizz Errol Black). The huge parade of brand new Kawasaki bikes inside the gatefold looked like something from the future compared to the classic full-dresser Harleys from the American Hells Angels movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny 'Didge' Matthews and synth expert Andy Cohan) blended with unidentified clicks belches and pops fly out the speakers it is literally impossible to put a date, never mind a story line, to this acid fuelled soundscape. The use of confusing and contradicting musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks-in you are left with a 45 minute programme of skewed. Forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.

VERTICAL SLIT- SLIT AND PRE-SLIT LP (smudge, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Originally released in a vanity pressing of 100 copies, this debut by James Michael Shepard & Vertical Slit has long been a holy grail item on many a collectors list. Legend has it almost 1/4th of the pressing ended up in the hands of luminaries such as Todd Rundgren, John Cale, Robert Fripp & Peter Hamill to name but a few. Musically this stands toe to toe with the cream of Nurse With Wound list prog obscuros AND Acid Archives psych outsiders. Imagine a bridge between Magical Power Makos self titled debut lp & The Decayes Ich Bin Ein Spieglei. Mastered in the furnace of the future so to bask in the luminous glow of the past.

FUNK AND SOUL

TWILIGHT- STILL LOVING YOU LP (luv n haight, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Still Loving You, by Twilight, was originally released in 1981. Housed in a low-fi generic album cover, this very polished, professionally produced record sounds like it was made by a super talented band. Strains of Earth Wind and Fire, George Duke and Roy Ayers, flow through a collection of tunes that effortlessly blend soul, disco, funk, Latin and Brazilian vibes. But looks, as evident with the LP cover, can be deceptive. Twilight was not a band. In fact, with the exception of a guest horn section and one guest vocal, Twilight was, and still is, Lawrence Ross; one man with a clear vision of what his music should sound like, and how he would make it on his own… He began playing clarinet at age nine. His father loved music and would play an eclectic selection of records loudly all day long; Frank Sinatra, Louis Armstrong, Bing Crosby, Ray Charles. “I was the first in my family to be bit by his musical bug, the scope of his taste was incredible,” says Ross. “He was creating a monster!” The paternal musical-schooling led Ross to soak-up all the tunes TV and Radio had to offer at the time. “Danny Kaye, Dean Martin, The Beatles, The Rolling Stones, and Motown; I would memorize songs after playing them once, and then I would improvise on them at school band rehearsals and drive the teachers nuts,” he recalls. In the early 1970s, while still in High School, Ross played in a Vallejo-based band called The Establishment. They were friendly rivals with another local band called Project Soul (whose only 7” single was re-issued on the Luv N’Haight Bay Area Funk Vol. II compilation). The acts often played on the same bill or play tandem nights to the same crowds at the same clubs. A decade later Project Soul had morphed into Confunkshun, and Ross had started writing and conceptualizing the Twilight album. Working the nightshift at General Mills, Ross was a Head shift packer at a flour mill where, in the twilight hours, there was enough quiet time to create songs. He estimates it took him about a year to write the album, but recording only took a week. Able to get by with only 3 hours sleep he recorded Still Loving You in a seven-day stretch between 10am and 11am every morning, just a few hours after finishing work. Ross showed-up to the studio with a master plan to make a record as he heard it in his head, by playing everything himself. “I laid out a tick track from begin to end on the first day,” he explains. “Then I went in and laid down the bass on the next day, and then drums, and then keyboards etc, with each process taking one hour of studio time each day.” This very methodical process was also economical and the entire album only cost $1200 to make. But making the music sound natural, like a band had played it, was a challenge. “It’s difficult to keep the meter/timing exactly right when you are duplicating yourself 7 or 8 times. But I did it that way because I could, and it was the only way to record the album the way I wanted to hear it,” says Ross. As a well-rounded musician Ross was able to play many instruments but often found his role restricted to saxophone and woodwinds when performing in bands. “I would try to get musicians to play instruments or parts a certain way, but often times I’d just get frustrated. So I’d go buy the instrument and learn how to play it myself!” he explains. “Recording the way was the only way to get what I intended, and there was no stepping on peoples toes because it was all me.” In addition to making the album by himself, Ross also knew he wanted a record that didn’t sound like any others. Bored with what he perceived as a mass music market full of formulaic releases Ross wanted Twilight to shake up the norm. He liked all styles of music, admiring everyone from the Bee Gees to Steely Dan, the Doobie Brothers, and Michael McDonald, all whom he considers tune-smiths. He didn’t want to be held back by the restraints major labels seemed to be placing on their prized artists. “If you have a great musician on your label why not let/push them do everything they can do?” says Ross. “Donna Summer did great disco, but why not let her include an opera song on an album?” Rather than produce a tidy record that fit well with a certain crowd, Still Loving You packs many different styles. The track that ended up as close to the sound Ross had hoped for was “Scorpittiarus.” Coincidentally it was the track that gathered most attention. Thanks to the promotional efforts of Paul Mack Jr., a friend of Ross and a PR man for Atlantic (also manager for the Bay Area funk band Perfect Circle), the song aired all over the San Francisco Bay Area on KBLX radio. At the height of its popularity “Scorpittiarus” was in rotation for 9 plays a day. Such support caused Leopolds, the Oakland-based exclusive distributor of Still Loving You, to sell out of the album in one week. Ross received calls and enquiries about the song from around the world. “Many people thought Twilight was some sort of Latin band when they heard that track,” laughs Ross. He was even contacted by CBS who wanted to use the song for The Love Boat, yes The Love Boat. Ross was into the idea but wanted CBS to list his name in the credits because he wanted to get established as a composer. He even turned down a six-figure buy-out in lieu of getting the credit. But CBS refused and ties were cut. “I would take the money now, but at the time I just wanted to get my name out there,” jokes Ross. The album ends with “Love’s High”, a short track with unusual arrangement that lands somewhere between Shuggie Otis and Yesterdays New Quintet. Starting out with a scattershot bossa beat the song quickly changes into a ballad-like piece with synthesizer strings and a catchy vocal hook that is unexpectedly backed with a jazz-heavy soprano sax solo. “I only had enough time for a tiny track at the end – this was a last minute thing, created during the course of the week. It was the most spontaneous of the batch,” he explains. Ross was happy with the album; it sounded like it was made by the group he’d wanted to create. Despite being pleased with conquering the process and the end-product, he says that he would not do it again. “No! Not with what I’ve learned now. And I’m not sure if people would like it if I remade the record anyway.” But he’s thrilled to know that the Twilight albums have become collectible items (reaching prices in excess of $500) and that there is a resurgence of interest. “I am surprised and not sure what to think of it. It was the furthest thing from my mind especially when you think about everything else that is popular. I guess I’m lucky I’m still around to witness it!” While Ross played almost every instrument on the album, there were a handful of guest musicians that Ross handpicked. On trumpet was Marvin McFadden, who Ross met by way of life-long friend and bass player William McCleod. McFadden lived a few blocks from McCleod and said he could always hear him screaming in the high register on his horn. McFadden was being taught, at the time, by Mic Gillette of Tower of Power and now performs with Huey Lewis and the News. Years before Twilight, Ross used to check out Jonathan Pryor in his Soul Institution group and knew he wanted him to be part of the horn section. Ross heard Ken Morasci playing at work. “He was on a swing shift one night when I came in early. I heard a trumpet screaming from the seventh floor. He never recorded before or played in a group, but just loved to play is horn every now and then,” says Ross. Trombone players Edward Rillera and Carl Lovio were both referrals from friends. Soprano and tenor saxes were played by James Ingram (not the "Yah Mo B There" James Ingram) who was trained by John Handy and another life-long friend from Jr. High School. Singing on one track was Tyrone Edger Gooch, “He loved to sing and had an out of this world personality,” says Ross. “He was a Legend around Vallejo.” The liner notes also credit John Duarte on percussion, but in truth he simply assisted with the use of all his equipment if Ross included him on the album credits.

TWILIGHT- PAINS OF LOVE LP (luv n haight, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*In 1986, five years after the release of his first album, Lawrence Ross returned with a new Twilight record called Pains of Love. Taking the experience and proceeds from his debut, Still Loving You, Ross spent a few years building himself a studio, and added engineering to his list of skills as a multi-instrumentalist. He was also mentored by Grover Washington Jr. having met him backstage at the Circle Star Theater. Mouthpiece in-hand Ross played one of Washington Jr.s songs using the stars’ saxophone. “When you’re young you have no fear,” says Ross. “That's because you are insane!” he jokes. “He loved it and gave me his phone number to call and play for him on the phone and he would tell me what I needed to improve upon.” Most importantly, the real reason for the 5 year gap between albums was that Ross had become a father, twice. While his first LP was recorded in a unique way, with Ross single-handedly creating the appearance of a band, he hoped to make his next recordings with the help of musicians. Lightening the burden of putting an entire album together would make the process more enjoyable and rewarding. However, that’s not what happened. Pains of Love began as a demo for Smith and Wesan (not, Smith and Wessun, the rap group that followed a decade or so later.) Their manager was Paul Mack Jr., promotions man for Atlantic, also manager for the Perfect Circle. He had heard “Scorppittiarus”, from Still In Love when it was released, and had helped facilitate some serious airplay on San Francisco station KBLX. He contacted Ross to create tunes that Smith and Wessun could use as demo tracks for Atlantic. Ross recorded “You Look So Good”, “Give All My Love”,” Pains of Love” and the beginnings of “You’re In Love” at Likewise Studio in Oakland as 1983 became 1984. There he was aided by musicians from Bill Summers group Summers Heat. They were under major label exclusive contracts at the time, and their work was strictly “off the record.” Mack took the three finished tracks to Atlantic who liked them and wanted to sign Smith and Wesan to a contract. However, on the day of the signing, a soap opera-style scenario unfolded and an unfortunate love triangle killed the Atlantic deal idea. Liking the way the first three tracks came out he was determined not to let them go to waste. Ross took them back to his own studio in Vallejo and remixed them. He set about finishing the half-done “You’re In Love”, while fleshing out the rest of an album. At the time he admired how Quincy Jones produced (especially on The Dude), and wanted to use some of his techniques. A quick glance at the album credits, and a flick through the synth-heavy tracks, shows that this record was made with even less musicians and instruments than the first. Switching organic live instrumentation for electronics, Ross created a monster soulful boogie album that sounds like an underground counterpart to bands popular bands from the time like Loose Ends, Mtume, or Cameo. Now that he had his own studio, and more time to make a better quality record, it seems like an odd choice to replace the layers of instrumentation heard on his debut, with a handful of synths. But a new model of the Prophet 5 keyboard (a staple of all synthesized music from the 1980s) had just been released and Ross loved the way it sounded. The purchase of the Prophet 5 alone pushed the cost of this album beyond that of his debut, but it allowed Ross to experiment with futuristic sounds. Outside of teaching himself to program the Prophet 5, Ross wanted to polish-up his song writing abilities on Pains of Love. “All the songs are about love because I wanted to get into telling a story. So I focused on writing and singing about relationships, etc, as opposed to concentrating so heavily on the music.” Ross wishes he would have taken more time to bring the other tracks to what he considers the same level as the first three. But he burned out on the learning curve of the keyboards, and producing, songwriting, and engineering the entire album. Instead of working with a group he had once again taken on the process of making an entire album. He was mentally spent and had to take some time off from music for a while. He pressed less copies of Pains of Love (than of Still Loving You,)and the album did not reach as wide an audience as his debut, “through lack of promotion and distribution,” he explains. With a young son and daughter, born in 81 and 82 respectively, Ross would like to have put more into the album but didn’t want to take time from his family. Nowadays Ross still plays, and his studio is packed with the vintage keyboards heard on his first two records. “I still have them all and I think I know my way around the studio better now,” he says. “I think I’m at my peak now on sax and synths. I never stopped, I practice every day and never considered giving up.” He is currently working on new tracks. “There will be a third Twilight album with the energy and wholeness of the first together with the quality and sophistication of the second. I have a large list of originals I have made throughout the years.”

ORGONE- TIME TONIGHT 12” (ubiquity, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Orgone are back with a new single, including an exclusive extended funky dub mix, as a taster from their forthcoming Cali Fever album.

BEI BEI AND SHAWN LEE- INTO THE WIND LP (ubiquity, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Into the Wind marries a unique blend of ancient tradition with studio trickery. Eschewing all notions of superficial "Asian-fusion," this uplifting, genre-bending sound clash, recalls the afro centric harping of Dorothy Ashby and hypnotic spiritual jazz of Alice Coltrane. With Lee adding equal doses of hip hop, electric jazz, and soul sensibility to the backing tracks, the captivating sound of Bei Bei’s Guzheng (a 2000 year old Chinese string instrument) comes alive on peaceful mellow joints as much as it does on Kung-Fu flavored funk tunes… Bei Bei is a Gu Zheng performer, composer and educator who was born in Chengdu, China and now resides in Southern California. The guzheng, also spelled gu zheng or gu-zheng or zheng (the Chinese symbol for which translates to "ancient") is a traditional Chinese musical instrument with a truly captivating sound that lends itself as much to peaceful ambient recordings as it does to Kung-Fu funk. It belongs to the zither family of string instruments and is the parent instrument of the Japanese koto, the Mongolian yatga, the Korean gayageum, and the Vietnamese ?àn tranh. Shawn Lee met Be Bei while Lee was out in California recording the Lord Newborn album and collaborating with Clutchy Hopkins. Files have been swapped back and forth and the project polished up for release over the past 6 months. Bei Bei and Shawn Lee’s “Beauty and the Beats” album will follow in January 2010. Watch out for accompanying live shows. New music by Gu Zheng performer Bei Bei and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery and spiritual jazz. This uplifting, genre-bending, soundclash recalls the afrocentric harping of Dorothy Ashby, the hypnotic style of Alice Coltrane, and the organic electronics of Four Tet and Quantic.

GLOBAL SOUNDS

MEBUSAS- VOL. 1: BLOOD BROTHERS LP (academy, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*shop favorite restocked… A large and multitalented group, the mebusas’ blood brothers album (1973) reflects the diversity of its members. Elements of soul, funk and psychedelic rock as well as Latin, Caribbean and African music come together in a powerfully unique album recorded in Nigeria. This is the first ever reissue of their only lp.

SJOB MOVEMENT- A MOVE IN THE RIGHT DIRECTION LP (academy, usa)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*shop favorite restocked… Deep and spacy Afro-Funk rhythms from heavy weight Nigerian musicians spark, jonnie, ottay and bolla. Veterans of sonny okosun’s ozzidi band, these artists branched out in 1974 in a heavier, more personal direction. First ever reissue of this psychedelic Afro-Funk classic!

V/A- LAGOS DISCO INFERNO 2LP (academy, usa)
29.98usd/17.95gbp/19.90eur/2625jpy (approx)

*shop favorite restocked… A collection of smoking hot groove action from Lagos, Nigeria circa 1976-’82. Compiled by frank gossner (aka dj frank o, soulpusher) of Voodoo Funk fame, you get twelve tracks that sound as fresh today as they day they were cut. Restored with loving care and packaged with liner notes by dean disi (journalist and former executive at Lagos’ tvc records) and a special message from damian iwuagwu.

ANIBAL VELASQUEZ Y SU CONJUNTO- MAMBO LOCO LP (analog africa, germany)
21.98usd/13.16gbp/14.59eur/14.59jpy (approx)

*shop favorite restocked… Analog Africa moves its focus to another continent for release number 7: Mambo Loco is a compilation of tracks by Anibal Velasquez, the legendary accordionist from Barranquilla in Colombia. In fact, when not crate-digging in Africa, Analog Africa founder Samy Ben Redjeb can often be found in Colombia. Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. Hailed by its locals as Colombia's "Puerto de Oro" (Golden Gate), Barranquilla has served as a gateway for "Caribbean Tropical Sounds" for almost a century. Home to the country's biggest cultural celebration, El Carnaval, and the birthplace of Colombia's radio and recording industry, Barranquilla has always been a city deeply rooted in musical traditions, and nobody embodies Barranquilla's rich musical heritage more than Anibal Velasquez. Known affectionately by his fans as "El Mago" (the Magician), Anibal has been one of the most prolific musicians of Colombia's Musica Tropical movement. Anibal was born into a musical family in Barranquilla in 1936. His father was an accomplished musician but his biggest influence was his older brother Juan who first introduced him to the secrets of the accordion. One of the turning points was a chance encounter with Robertico Roman, a musician from Cartagena. "It was with Robertico Roman that I formed my first band called Los Vallenatos de Magdalena. I made my first recording with that band in 1952. Four songs were recorded including a track called 'La Gallina,' which became a huge hit and really spread the costal sound toward the interior of the country." Unfortunately soon after, in 1955, band-mate Robertico died and Los Vallenatos de Magdalena had to disband. Without a band, Anibal was forced to take a job as a session musician for Barranquilla-based label Disco Eva working for a group called El Conjunto Colomboy. He remained with Disco Eva until the end of the 1950s, working closely with the great Costeno master Lucho Campillo. Then in 1960, Anibal formed a new group together with his elder brother Juan, a gifted musician in his own right, and his younger brother Jose who would soon become his right hand man, enabling Anibal to add a new dimension to his playing style. Jose himself began experimenting by incorporating new instruments and re-inventing old rhythms. He would break the rules and replaced the traditional bongos used in Cuban guaracha and rumba with a traditional Colombian drum called "La Caja" which he modified by adding "radiografias medicas" (x-ray film) over the drum. This -- combined with Anibal's powerful accordion -- was to become a sensation, generating a much harder and drier sound than the traditional leather skin drums. Anibal's new Guaracha style was infectious, fast and furious, often leading his crowds into a state of frenzy. The interest for Anibal's new innovative sound started growing and recording offers poured in. Anibal began to have an impressive amount of followers, drawing huge crowds wherever he went. By the mid-1960s, music in La Costa began to change drastically. With the onset of the hippie movement in the United States came a craving for marijuana, and Colombia's Caribbean Coast had become a main trafficking hub. A new economy of drugs had emerged and with it a musical style called Vallenato rose to prominence. Its distinct accordion sound and bluesy appeal made it a favorite among drug lords and mafiosos alike, becoming the soundtrack for their feverish life-styles. By the 1970s the level of violence in the coast had grown to unprecedented heights and Vallenato was everywhere. Fed up with this, Anibal decided to move to Caracas, Venezuela, where he remained for 18 years until finally returning back to his beloved Barranquilla in the late '80s. Anibal's contribution to Colombia's Musica Tropical Movement cannot be forgotten. It is said that Anibal Velasquez recorded 300 LPs throughout his remarkable career. His ability to play music that was joyful and percussive, with lyrics right out of everyday life, while at the same time championing a new sound, has made him into one of the few living legends of Colombia's glorious musical past.

ORCHESTRE POLY-RYTHMO- VOLUME ONE THE VODOUN EFFECT: FUNK & SATO FROM BENIN'S OBSCURE LABELS 1972-1975 2LP (analog africa, germany)
27.98usd/16.75gbp/18.57eur/2450jpy (approx)

*shop favorite restocked… Double vinyl version, in deluxe gatefold sleeve with printed inner sleeves. Following the highly-acclaimed African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo '70s -- which featured several tracks by Orchestre Poly-Rythmo de Cotonou, including the ground-breaking "Gbeti Madjro" -- this new Analog Africa collection now focuses entirely on Orchestre Poly-Rythmo. Orchestre Poly-Rythmo de Cotonou is arguably West Africa's best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, label-head Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from, he decided to split it into Volume 1 and 2. While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also "secretly" recorded with an array of smaller labels based around Cotonou, Benin's largest city, and the capital city of Porto Novo. It is those tracks (all officially licensed) that are presented here on Volume One. The producers of those labels were genuine music enthusiasts, some of them ran these labels as a part-time occupation, with very limited budgets. They couldn't afford high-quality recordings -- all they had to work with was a Nagra (a Swiss made reel-to-reel recorder) and a sound engineer -- courtesy of the national radio station. These sessions were recorded in private homes using just one or two microphones. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the Vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with funk, soul, crazy organ sounds and psychedelic guitar riffs.

ORCHESTRE POLY-RYTHMO- VOLUME TWO ECHOS HYPNOTIQUES: FROM THE VAULTS OF ALBARIKA STORE 1969-1979 2LP (analog africa, germany)
27.98usd/16.75gbp/18.57eur/2450jpy (approx)

*shop favorite restocked… Four years in the making, Analog Africa finally presents the highly-anticipated second volume of music from Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou. Volume One (The Vodoun Effect: Funk & Sato from Benin's Obscure Labels, 1973-1975), released by Analog Africa at the end of 2008, was a collection of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou. The idea for this compilation was born five years ago when Samy Ben Redjeb, Analog Africa's founder and compiler, first heard the addictive funk track "Malin Kpon O" (included here), which was originally released in 1975 on Albarika Store. That discovery triggered the compiler's curiosity and what followed was a long journey through the musical history of Benin and the history of its most important ambassador, Orchestre Poly-Rythmo de Cotonou. The result: approximately 100 pictures, 120 master tapes, 20 hours of interviews and a few hundred Orchestre Poly-Rythmo vinyl records -- 500 songs in total -- some of which previously unreleased. Almost half of those tracks were recorded for Benin's number one label -- Albarika Store. During the period presented here -- 1969 to 1979 -- the mighty Orchestre was without any doubt one of Africa's most innovative groups. Capable of playing any style of music, the band moved from traditional Vodoun rhythms to funk, sato, Latin, sakpata, psychedelia and Afro-Beat seamlessly and quickly became the powerhouse of Benin's music scene. Some of the planet's most exciting rhythms are related to the complex Vodoun religion born in Benin. Those rhythms, supported by chants and dances, have been transmitted from generation to generation and are still being performed to this day, a few hundred years after they were created. The composers and arrangers of Orchestre Poly-Rythmo understood that they were surrounded by a gold mine of inspirational sounds which, if modernized and mixed in with whatever was in fashion at that particular moment, could have a strong impact on the urban population. Those astonishing combinations can be heard here, all mixed into a heavy hypnotic sound -- Les Echos Hypnotiques.

V/A- LEGENDS OF BENIN 2LP (analog africa, germany)
27.98usd/16.75gbp/18.57eur/2450jpy (approx)

*shop favorite restocked… Analog Africa presents Legends Of Benin, a collection of super-rare and highly danceable masterpieces recorded between 1969-1981 by four legendary composers from Benin: Gnonnas Pedro, Antoine Dougbé, El Rego et Ses Commandos and Honoré Avolonto, each with a sound all their own. What you are about to hear is distinctively Benin -- a thick brew of agbadja, soul, cavacha, funk, Afrobeat, and Afro-Latin sounds all mixed in with heavy traditional rhythms. Gnonnas Pedro is the king of modern agbadja: a rhythm hugely popular in Togo, Benin and Ghana, based around three pieces of percussion, each with a different tone. Traditionally a rhythm used during burial ceremonies, Gnonnas adopted and modernized it in the mid-'60s, calling it "Agbadja Modern." The track "Dadje Von O Von Non" was originally recorded in 1966 and is Gnonna's first modern rendition of agbadja. Also featured here is the crazy, kick-ass funk track "Okpo Videa Bassouo" recorded in 1973, as well as the sublimely contagious track, "La Musica en Verité." Honoré Avolonto was one of Benin's most prolific composers, releasing Benin's most successful LP in the late '70s. That album was recorded with Black Santiago, a band fronted by amazing trumpeter Ignace De Souza, another legend, with whom he recorded the Afrobeat track, "Dou Dagbe We." Avolonto has fronted some of Benin's most powerful bands and some of those "partnerships" with Orchestre Poly-Rythmo and Les Commandos are presented here. Beware -- killer Afrobeat meets frenetic funk. El Rego et Ses Commandos were responsible for Benin's first Afro-soul-funk track with the support of Ghanean singer, Eddy Black Power. The "Jerk" scene in Benin was triggered by the success of "Feeling You Got," and its infectious accordion riff. "E Nan Mian Nuku" is an Afro-Latin tune combined with a kind of bossa nova, and "Vimado Wingnan" is Benin's most sought-after funk track. Out of all the artists here, Antoine Dougbé is the least known even in Benin, but he created his own style which he dubbed Afro cavacha -- a fantastic mixture of Congolese rhumba, Latin sounds and traditional vodoun rhythms. All of his vinyl releases, especially the ones released on his own Editions Dougbé Antoine label, are incredible and have become some of Africa's most sought-after collector's items.

IKENGA SUPERSTARS- IKENGA SUPERSTARS LP (decca, france)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Grey area exact repro of this hypnotic high life band, led by Vincent Okoroego, a member of Steven Osita Osadebe's Nigeria Sound Makers. This lp includes the track “Soffry Soffry Catch Monkey," which appeared on the 2005 Lagos Chop Up compilation released by Honest Jon's… Rare and sought after Afro-funk and Afro-beat album from Nigeria 1977, apparently only released in France.

MOUSSA DOUMBIA- KELEYA LP (emi, france)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Exact repro featuring the 10 minute version of "Keleya" (an abbreviated version appeared on Luaka Bop's Love's A Real Thing compilation), along with "Papa," "Femme Senegal" and "Mariage”… Killer psychedelic Afro-funk from Mali with four long dancefloor bombs. Originally released on EMI-Pathe, France, in 1977.

V/A- THE SOUND OF WONDER: THE FIRST WAVE OF PLUGGED IN POP AT THE PAKISTANI PICTURE HOUSE 2LP (finders keepers, uk)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*The first wave of plugged-in pop at the Pakistani picture house. Rare Electronic Pop from the Lollywood vaults (1973-1980). 15 untraveled currants of Space-Age Cinematic Surf and Urdu Funk. Commonly, ignorantly but understandably lumped in with its wealthy not-too-distant cousin, Bollywood, Lollywood was inspired by, but often overshadowed by its posh and well-traveled relative. Following the simplistic Bombay + Hollywood = Bollywood name game (that would in later years spawn Nollywood in Nigeria), Lollywood's Lahore based film industry was a profitable and vibrant one that found great success in the modest boundaries of its own country but was seldom savoured outside Pakistan. However, the hugely important musical business spawned a bi-product that was viewed as a potential earner for international entertainment industry, EMI, which allowed talented musicians to create ambitious music with world class mediums at there disposal, which throughout the 60s and 70s ranged from fuzz-guitars, space-echo machines and American and European synthesizers, but, due to the composers indigenous roots, rarely a drum-kit. Here you'll find fuzzy, scuzzy, twang-happy, spaced-out and funked up urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger-numbing, percussion that the South East Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound RAW! Re-imagine some of the most action packed Bollywood productions (which Lollywooders actively did) then fire the make-up department, take away the special effects budget and then improvise. The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern Pop music. So, it's time to meet the culprits. The names on the back of the records that'll keep you gambling on Ghazals and taking punts on Pakistani pulp-balladry. As an introduction, in place of R.D. Burman and Asha Bhole, we have Mr. M. Ashraf and his long-term female collaborator, Nahid Akhtar. This duo would provide Pakistan with it's Gainsbourg / Birkin or it's Morricone / Dell'Orso for over 20 years, recording squillions of cut-and-paste sonic collages and moog-fuelled desperate love / hate / chase / chill / kill / songs mixing onomatopoeic Urdu lyrics with unexpected bursts of user friendly English language (which often elongates the running time passed the 5 minute mark) and throwing in the odd motif from a Barry White or Donna Summer hit. We also have legends like Noor Jehan, a national treasure and household name in Pakistan whose discography of film songs have deprived the vaults of EMI Pakistan of floor space for half a century.

V/A- POMEGRANATES: PERSIAN POP, FUNK, FOLK AND PSYCH OF THE
60S AND 70S 2LP (finders keepers, uk)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*shop favorite restocked… It's no accident that the phoenix is an exalted moral, mythical, and figurative symbol in Iran. Like the phoenix, Iranian culture is in constant flux and, at times, elusive, with its existential wavering and blurred panoramas. Most of contemporary Iran's artistic and creative leanings, its grapples with history and identity, are loosely and mystically conjoined and contested in memory. Iran is marked by the complex interplay of diverse constituencies, philosophies, and influences: ethnic, religious, political, geopolitical and historical. The glorification of pre-Islamic antiquity (in search of authentication) marked the socio-cultural attitude of a bygone era and is witnessing revival in the present day. The discordant reality of eastern traditions complicated by the rampant confusions of modernity has become a norm in Persian dialogue, not to mention revolution, exile, and diaspora. Like many other countries, the sixties and seventies were a time of tumult in Iran, bringing growth (via petrodollars) and freedom (under the banner of socioeconomic development) while exacerbating inequalities within the country. The music and voices that blossomed during those decades exemplify the turbulence and excitement of the age. It is worth recognizing these 'left out' and 'lost' artists individually and as a group in the global happenings of '60s/'70s psych, rock and folk, while exploring their influence and relevance to the present day. Is it possible that there is a genus of delectable sounds and fetching images that almost exclusively reside in the elbowroom of memory and nostalgic 'yesteryear' storytelling? Little consideration has been given to the correlation of these sounds and stories within the universal psychedelic phenomena: parallel to the shared stylistics of British and American players, and the radical politicking of their Turkish and Korean counterparts. This collection endeavors to re-contextualize these songs from the realm of reminiscence, nostalgia, and memory into a specific and accessible narrative to share and relate within the universal musical gamut. It is for aficionados, the curious, and collectors alike. We hope that Iranians around the world will rediscover these songs. This collection is, in some sense, dedicated to a generation in self-imposed mental exile, due to years of war and catastrophe; decades of lies and bombs; a fundamentalist theocracy of reformist shams; addiction; isolation and alienation; unemployment, and inflation. These are voices and stories that may again prove relevant to a psychologically damaged and spiritually corrupt society, a society whose discontents recall the latter years of the Shah's rule. The recordings excavated here are highly sexual musings, voluble love songs, and simple folk tunes.

V/A- TO SCRATCH YOUR HEART: EARLY RECORDINGS FROM ISTANBUL 4LP BOX (honest jon’s, uk) 54.98usd/32.91gbp/36.49eur/4815jpy (approx)

*drawn from recordings made in Istanbul by the Gramophone Company and HMV, during the first three decades of the 20th century. Amidst the ruins of the Ottoman Empire, it crosses and mixes the folk and classical heritage of Turks, Greeks, Armenians and Gypsies, Muslims, Christians and Jews, urbanites and country‐people, and the demands of tradition and modernity, musical improvisation, composition and system. Most of the singers are hafız, versed in a musical reading of the Koran, and renowned for mastery of the exalted, improvisatory form of the gazel. There are several magnificent examples here, by legendary artists. Three of these gazelhans beautifully interpret folk songs, and another contributor, the folklorist Ağyazar Efendi, sings a long Armenian air with utter authenticity, but in the style of a gazel. Exemplifying the new political freedoms of the Republic, there are two heart‐melting female vocal performances of a kind of art‐song called sarkı. Also featured is the taksim, a kind of improvisation in which one‐off musical fireworks, designed to ravish the listener's soul, illuminate deep fluency in the makam. A who's-who of the pre‐eminent instrumentalists of this first half-century of Turkish recording, in performances which are simply stunning, breathtaking, exquisite and other‐worldly. The music here is so transfixing, intensely devotional and sublimely beautiful, that some contemporary listeners thought they were levitating. Brilliantly restored at Abbey Road, and housed in an luxuriously packaged, deluxe four lp version, in cardboard slip case with individual sleeves for each lp.

V/A- LIVING IS HARD: WEST AFRICAN MUSIC IN BRITAIN, 1927-1929 2LP
(honest jon’s, uk) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Honest Jon's has prepared a series drawing on some of the earliest recordings in the EMI Hayes Archive -- recovered from more than 150,000 78s -- staggering music from Iraq, Turkey, Caucasia, Lebanon, Iran (including sides made in Old Street, London, in 1909), Egypt and the Belgian Congo. This series opener presents the music of the West African underground of 1920s Britain, recorded at Hayes and released on the Zonophone label (which exported nearly all the records to West Africa). You can hear Caribbean influences here, the promise of highlife there, but Living Is Hard mostly disavows fusion and assimilation. And by contrast with antecedents in the history of black music in Britain -- minstrelsy and spirituals, for example, ragtime and jazz -- these recordings are unhitched from the protocols of a white listenership. These are startling, trenchant, elemental roots -- carrying troubled news home, along with signs of the new African nationalism -- and an enthralling glimpse of other lives, other times. Artists include: Oni Johnson, Isaac Jackson, Ben Simmons, Harry E. Quashie, Douglas Papafio, Prince Zulamkah, The West African Instrumental Quintet, The Ga Quartet, Domingo Justus, James Tucker, John Mugat, Kumasi Trio, James Thomas, Nicholas De Heer, George Williams Aingo and James Brown.

V/A- GIVE ME LOVE: SONGS OF THE BROKENHEARTED: BAGHDAD, 1925-1929 2LP
(honest jon’s, uk) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… This is the second in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. In the mid-1920s, The Gramophone Company -- soon before it became EMI -- employed two or three Europeans to criss-cross Iraq. They logged regional demographics, assessed the German competition, and checked out the scores of record shops and hundreds of musical venues. In Kerbala, its man fearfully disguised himself as an Arab. This was the groundwork for three sessions, conducted in Baghdad in the second half of the decade, which produced nearly 1,000 recordings. Business was good -- the first group of records, though deemed aesthetically unsuccessful by the Company, immediately produced 12,000 sales to just two outlets in the city. Drawing on the full range of these Baghdad recordings, it is a wondrous, deeply poignant glimpse of social living since obliterated, in which ethnicities, faiths and traditions appear woven richly and meltingly together, however precariously. There is dance music featuring Arab folk singers from the countryside, backed by professional Jewish musicians in Iraqi styles popularly termed "Egyptian," and perfected in nightclubs where the first duty of the secular women singers on this album was prostitution. Also including some Arabic word-play, in a nod to the musical form of the Arabic mawwal, a Hebrew hymn is kick-started with a cry of "Allah!," most likely from one of the Jewish performers. There are pieces from Bahrain and Kuwait; sometimes mixed together in one performance -- the different dialects are far-flung. There are beautiful, high and lonesome Kurdish violin improvisations; and some unaccompanied circular breathing on a zourna so unearthly it seems to cross late Coltrane with Sun Ra. All the songs are characterized by searing emotion and crises of feeling, many by erotic urgency. As with the other titles in the series, the recordings have been startlingly restored at Abbey Road; and they are presented with full translations, rare photographs (in this case, several performers), and notes -- including an extensive interview with a citizen of Baghdad throughout this period, who knew many of the musicians here personally.

V/A- SPRIGS OF TIME: 78S FROM THE EMI ARCHIVE 2LP (honest jon’s, uk) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… 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- THE WORLD IS SHAKING: CUBANISMO FROM THE CONGO, 1954-55 2LP (honest jon’s, uk) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… This is the fifth release in Honest Jon's series of albums exploring vintage recordings held in the EMI Hayes Archive. This album uncovers the dizzy beginnings of the golden age of African music zinging with the social and political ferment of the independence movement and anti-colonialism, after the Second World War and the daredevil origins of Congolese rumba -- the entire continent's most popular music in the '60s and '70s. The new music grew in concert with a burgeoning night life especially in the twin capitals of Leopoldville (today's Kinshasa) on the Belgian side, and Brazzaville on the French, where humming factories lured increasing numbers of rural Congolese with the offer of a steady, relatively well-paying job. The astonishing inventions of Europe and America also played an important role in the music's development. Traditional Congolese musicians began to master imported guitars and horns by mimicking what they heard. The jazz of Louis Armstrong and the ballads of European torch singers like Tino Rossi captured the imagination of the rapidly-expanding working class as well as the familiar-sounding music of Latin America. Local musicians swapped the Spanish of the originals for Congolese languages. In his version of "Peanut Vendor," included here, A.H. Depala replaces the seller's cry of "mani," or "peanut," with a lovelorn lament for a woman named "Moni." Depala went on to land a spot in the house-band of the prestigious Loningisa studio. Others failed to gain equivalent recognition, but their music was no less impressive. Listen to likembe (thumb-piano) player Boniface Koufidilia as he makes the transition from traditional to modern in the first few seconds of "Bino," which hits you with a vamping violin while he muses about death (including that of the popular Brazzaville musician Paul Kamba). Andre Denis and Albert Bongu both echo the sounds of palm-wine brought to the Belgian Congo by the coastmen. The sweet vocal harmonies of Vincent Kuli's track were learned, perhaps, in a mission church. Rene Mbu's nimble, likembe-like guitar plucking shines on "Boma Limbala," and is Laurent Lomande using a banjo as a backdrop to "Elisa?" Aren't those kazoos, buzzing along on Jean Mpia's "Tika?" It's as if the musicians, fired up by the times in their zeal for experimental self-expression, tossed into a bottle some new elements and some old, some near and some far, and then shook it hard, to see what would happen. With rare photographs and notes by Gary Stewart, author of Rumba On The River. Sound restoration done at Abbey Road.

V/A- MARVELLOUS BOY: CALYPSO FROM WEST AFRICA 2LP (honest jon’s, uk) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Marvellous Boy: Calypso From West Africa celebrates the West African counterpart of the 1950s Soho scene uncovered in the Honest Jon's series, London Is The Place For Me. Issuing from centuries of to-ing and fro-ing between England, the West Indies, and West Africa, the same musical styles -- calypso, highlife, jazz -- overlap, proliferate, and adapt, with local traditions freshened up and thrown into the mix. With numerous faces and reference points cropping up in both milieu, this contemporaneous music-making is brimming over with the same passion for life, sparkling topicality, and extravagant, magpie creativity. The inter-war dance bands of British West Africa are often strikingly similar in sound to Trinidadian orchestras like Lovey's String Band (credited with the first calypso recordings in 1912). However, the first West African calypso recordings in the modern style are from Freetown, Sierra Leone in the early 1950s, by Ebenezer Calendar and Famous Scrubbs. In arrangements blending African and European instruments, the brass plays out the legacy of colonial military bands, albeit hair-down and a little ramshackle now; and the beautiful Creole lyrics are as quick and musical as any classic calypsonian's. Decca also organized the first calypso recording session in Ghana, down the coast, where a sound interchangeably designated "calypso" or "highlife" ruled urban dancefloors, courtesy of The Tempos and its spin-offs including The Rhythm Aces. The invasion of King Mensah of Ghana, and The Tempos' money-spinning tour of Nigeria at the start of the 1950s sparked a decade of musical innovation. Bobby Benson's new highlife 11-piece included the great trumpeters Victor Olaiya and Roy Chicago and his calypso "Taxi Driver" was their first, huge, signature hit. (By contrast, little is known about the Nigerian Rolling Stone). The Mayor's Dance Band was run by the celebrated Erekosima "Rex" Lawson, whose trademark blend of Igbo lyrics over a Calabari rhythm reflected his mixed parentage. Steven Amechi was from eastern Nigeria, and the guitar solo on "Nylon Dress" is by the king of Igbo highlife, Stephen Osita Osadebe. Saxophonist Chris Ajilo and his band The Cubanos didn't produce much calpyso-highlife, but rather, cooking Afro-Cuban jazz with traditional roots, exemplifying the open hybridity of all these forms. By the early 1960s, calypso was fading in West Africa, and U.S. soul and rhythm and blues were poised to replace Caribbean influences. Still, the dying embers would produce its most classical exponent, Godwin Omabuwa, Nigeria's own Lord Kitchener. Omabuwa cut only a few records, but his mastery of the genre was a fitting end to the heyday of calypso in British West Africa.

ARTHUR VEROCAI- ARTHUR VEROCAI LP (luv n height, usa) 24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Arthur Verocai released a self-titled album on Brazilian based Continental Records that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar. Luv N'Haight records is honored to release its first full-length Brazilian album. It's super rare and will appeal to fans of the folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney. Closest Brazilian comparisons would be to Tim Maia and Jorge Ben. This unique recording has a touch of folk, more than a hint of funk, jazz style soloing, amazing 20 piece string arrangements, blending of electronics and keyboards with organic sounds, and superb soundtrack style music. "I used to listen to Blood Sweat and Tears, Chicago, Stan Kenton, Wes Montgomery, Jimmy Web, Frank Zappa, Herbie Hancock, Bill Evans and Miles Davis, Milton Nascimento, Bossa Nova, among others," explains Arthur Verocai. "In Brazil we had many musical influences, and by that time there wasn't a hegemonic one in the market. In this way my album reflected a search and musical experimentation. I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths. Verocai arrived at the 1972 album with a number of accomplishments under his belt. He'd produced the Ivan Lins 1971 album "Agora" which was influenced heavily by the sound of North American soul. He had contributed string arrangements to Jorge Ben releases, too. "I also produced two albums by a singer named C?lia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians!" Verocai wasn't messing around with his line-up of musicians, which included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalh?es (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta. Born Arthur Cortes Verocai in Rio de Janeiro, Brazil on 17/6/1945, he studied music with L?o Soares, Darci Villaverde, Nair Barbosa da Silva, Roberto Menescal and Vilma Gra?a. In 1966 Leny Andrade included his song "Olhando o Mar" ("Looking at the Sea") on her "We Are There" album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements. The live recording of the event included the songs "Madrugada" and "Nova Manh?", composed in partnership with Paulinho Tapajs. By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazils famous Festivals of Music. He was working with artists like Paulinho Tapaj?s, Elis Regina, Creuza Maria, the Golden Boys, and Evinha. In 1969 Arthur Verocai began his professional career as musician and arranger. He scored the music for the theater show "Is The Greater", and wrote his first arrangements for orchestra. He arranged records by the Ter?o, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, C?lia, Guilherme Lamounier, N?lson Gon?alves, Marcos Valle, and others. His music also appeared in the musical "The Life of Braguinha", alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series. The 1972 self-titled album allowed Verocai to take his interest in instrumental music even further. "I always wanted to compose soundtracks in great style, as in the cinema, but this wasn't possible with television work," he says. "My opportunity came when I was recording this album. I created a rhythmic cell in the acoustic guitar with the harmonic line. I added bass and the non-conventional drums and the percussion with a very smooth orchestration in blocks (four trumpets and a flute) plus the delicate touch of the strings (12 violins, 4 violas and 4 cellos). At the end of the song, Oberdan Magalh?es played and sang with his flute." The resulting track is "Sylvia". "Presente Grego" is perhaps the funkiest track on the album. "This song was influenced by American soul and funk," says Verocai. "By 1972 many of the musicians of my generation were feeling the same influences. Because of our exposure to all many musical influences, we put a distance between us and the conventional recording styles. "Presente Grego" means "Greek gift." It is an expression that comes from the horse of Troy, a gift from the Greeks that hid the warriors that defeated the Troyans. Likewise, the military dictatorship, under the appearance of a good government, practiced censorship and oppression", he explains. In addition to the funky soul elements the album features many solos from artists obviously well schooled in Jazz. Check the soloing in "Pelas Sombras" or "Karina", where saxes blow hard and true against the backdrop of Brazilian rhythms. "My musical preferences go from J.S. Bach and Villa-Lobos, to jazz musicians like Tom Jobim, Milton Nascimento, Miles Davis, Herbie Hancock, Oscar Peterson, Wes Montgomery and Bill Evans," explains Verocai. "I remember Edson Maciel, was invited to a studio session at 9 AM and was to perform a solo on "Karina." He asked us to wait for a while because he wanted to be inspired by some "cacha?a" (a Brazilian liquor made from distilled sugar cane juice). While rehearsing, he asked for a little more "cacha?a" to bring on some more inspiration. This happened twice until he found his inspiration and performed a tremendous solo!" remembers Verocai. In the years after the album release Arthur Verocai became a music advertising executive, creating and producing albums for customers like Brahma, Fanta, Petrobra's, South America, Souza Cruz and was even honored with the Colunistas Prize in Advertising. Since 1983 he is the main proprietor of Studio "V" - House of the Sound and in 2002 he released a solo album "Arthur Verocai - "Saudade Demais" featuring a collection of his work as composer, including some unreleased songs. Arthur Verocai's musical peer Ivan Lins has this to say about his great friend, "Arthur is a very dedicated musician. He has always been. Not only dedicated but very talented also. He made this record years ago just for the fun of it without much publicity. And now will strike back. That's great!"

DISCO

BLACK LODGE- A BLACK LODGE EDIT 2X12” (white label, uk)
29.98usd/17.95gbp/19.90eur/2625jpy (approx)

*Featuring 2 rarities re-edited, plus 4 new tracks. Bits of rude boy rocksteady, disco, synth-wave, Arabic pop, rock. 500 only, presented in hand painted sleeves, and numbered.

ACTRESS- SPLAZSH 2LP (honest jon’s, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*the eagerly awaited second album by Werk Discs founder and controller Darren Cunningham. Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville (WERK 005CD). Determinedly off‐the‐map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony "Shake" Shakir, Daft Punk, "binary codes and numeral systems," and The Avengers. He's a hard man to pin down -- somehow a key player in the post‐dubstep diaspora and yet not there at all -- but everything comes across in his shape‐shifting, richly-textured music. The South Londoner's acclaimed debut lived up to its name: a series of dream-like sketches and ideas. For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close -- a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal clichés of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like "Get Ohn" and "Lost." A range of musical influences is redrawn, from speed-garage to grime, with none crowned king. There is a reflectiveness -- the ambient drift of "Futureproofing," the radiophonic judder of "Supreme Cunnilingus" -- in amongst the industrial, synth‐wave flavors of "Casanova," and the stirring, stately "Maze." Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste‐making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress -- a substantial and eccentric work from a brave and coolly individual artist.

RISCO CONNECTION- RISCO CONNECTION 2LP (musica paradiso, japan)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Gatefold double LP version… In the late 1970s, Joe Isaacs put together a very unique dub/disco/reggae project called Risco Connection. The group released multiple 12" singles covering classic disco tracks and was able to successfully take the original songs and make them their own. Risco Connection is more popular today than they were 30 years ago and this 12-track unreleased album is a must-have for any fan of good music.

ROBERT HOOD- OMEGA 3LP+CD (m-plant, usa)
34.98usd/20.94gbp/23.22eur/3063jpy (approx)

*3LP version. Includes CD of the entire album. Detroit's legendary Robert Hood returns after 2009's Minimal Nation (MPM 001CD/LP) re-issue with his new artist album Omega. The album is based on the 1971 classic science fiction film, The Omega Man, starring Charlton Heston and derived from Richard Matheson's 1954 novel I Am Legend (which was re-adapted to the big screen). The album is not intended as an exact soundtrack to run alongside the original film, but Hood was heavily influenced by the movie and he has used it as his inspiration. This album's concept is a long-held vision of Hood's and the film's stimulus has presented itself both musically here, and even spiritually for him, since he watched it as a child. Its themes appear even more relevant today and continue to haunt: "It's definitely metaphoric," he says, "and if we don't heed the signs, this is where we'll end up. We live in a society where we just consume. We just take. We don't operate on the concept of giving." The film resonated with him throughout the years, and there are many parallels between the post-apocalyptic world portrayed in the film and parts of Detroit where he grew up. "You can look at downtown Detroit at night after the nine to five have migrated home and it turns into a ghost town," he muses. "You had abandoned buildings during the crack epidemic and this progressive city had these 'zombies' walking the street. Detroit is a prophetic vision of the sign of things to come." While the brooding "Towns That Disappeared Completely" and laser-strafed "War In The Streets" certainly brings these comparisons together, the album still remains a work of science fiction, albeit one rooted in decaying urban realism as opposed to otherworldly fantasy. Tracks such as "Are You God?" delve into the "messiah complex" of Charlton Heston's last-man-on-earth battle to save humankind from the infected inhabitants of earth, while the album's preceding single "Alpha" is dancefloor minimalism at its finest -- yet another lesson in stripped-down machine funk. Floating between the cinematic experimentalism of "The Plague (Cleansing Maneuvers)," the low-key minimal grooves of "The Workers Of Iniquity," and the pure dancefloor adrenalin rush of "Omega (End Times)," Robert Hood gives us another minimal masterpiece. As Hood himself concludes. "This movie is an exercise in faith. Everybody is dead. Through all this adversity, there is still hope, but man has to repent. This is a message of hope and through the adversity, people will begin to look at a higher force.” Housed in an epic die-cut cover with printed innersleeves.

ROBERT HOOD- INTERNAL EMPIRE 2LP (tresor, belgium)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Tresor represses the genre-defining minimalist classic from Robert Hood, Internal Empire. It is clear how much Robert Hood has characterized and impressed the electronic music scene with Internal Empire. The fact that in modern days techno is characterized by Detroit is a credit that is owed to this record in particular. Originally released in 1994 and long unavailable, Internal Empire is a Detroit classic of perfectly looping minimalist repetition. Hood has since released music for Cheap, his own Drama and later M-Plant, and countless other labels, but this is his defining moment and one of the heaviest, most abstract Detroit records -- with near-perfect sound construction. Robert Hood's official contribution to the music scene in Detroit at the end of 1990 was selling records made by other musicians. He was MCing and recording music cassettes until Jeff Mills and Mike Banks discovered the young talent and got Hood to work at their studio, forming the Underground Resistance label. His premier as a songwriter debuted on X-101 with "G-Force" and "Rave New World." He received all kinds of support from the two masterminds Mills and Banks -- Hood calls the two his mentors, who also promoted his idea to found his own label Hardwax, where he developed his very own unique musical signature. After UR split up, he still worked together with Jeff Mills and the two of them founded the Axis label. A little while later, the busy Robert Hood created yet another outlet of his creativity: M-Plant Records. With Internal Empire, he redefined techno, reducing sounds to their essentials, while continuing to develop in new, revolutionary directions.

DREXCIYA- NEPTUNE'S LAIR 2LP (tresor, belgium)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Detroit's Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya's grand history was written entitled Neptune's Lair, featuring 21 exclusive tracks released in the fall of 1999. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods ranging from the dark, foreboding "Intro" to the shimmering beauty of "Polymono Plexusgel." While words won't do Neptune's Lair proper justice, rootsy Kraftwerkian techno ("Universal Element" and "Oxyplasmic Gyration Beam"), gives way to G-style electro ("Fusion Flats" and "Andreaen Sand Dunes"), while jazzy freestyle funk ("Running Out Of Space" and "Funk Release Valve") evolves alongside classic 4/4 club sound ("Species Of The Pod," "Devil Ray Cove" and "Lost Vessel"). Although the roots run deep, Neptune's Lair heralded an important new chapter in the musical connections between Detroit's finest and Tresor.

JEFF MILLS- WAVEFORM TRANSMISSION VOL.1 2LP (tresor, belgium)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*This is part of a series of re-released titles, formerly licensed away by Tresor Records to other labels. This is the debut album from seminal techno DJ Jeff Mills, recorded in Detroit and released in 1992. Waveform Transmission Vol. 1 is a time-capsule of electronic music at its high point, a musical work that shows the state of electronic music in 1992 while giving important, retrospective hints towards the possible future of this genre. Even today, there has been no production in this music style that has not been influenced by this album -- a classic of brutal, rock-breaking strength that continues to guide ever since its first release.

JEFF MILLS- WAVEFORM TRANSMISSION VOL.3 2LP (tresor, belgium)
26.98usd/16.15gbp/17.91eur/2362jpy (approx)

*Waveform Transmission Vol. 3 by the legendary American techno artist Jeff Mills is part of a series of re-released titles, formerly licensed away by Tresor Records to other labels. This is the last in the legendary Waveform Transmission series, originally released in 1994 and arguably a stylistic swan song. Markedly less ruthless than Waveform Transmission Vol. 1, this volume saw Mills expand his palette of beats and textures into slightly more futuristic territory, while still retaining his hold on hard loops and his signature relentless tempos.

X-102- TITAN EP 12” (tresor, germany)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*In 1992 Jeff Mills, Mike Banks and Robert Hood – still known at that time as Underground Resistance – released what was probably the most futuristic album in modern electronic music: “X-102 discovers The Rings Of Saturn” (Tresor.004/UR), as part of their X-10… series. The tracks on X-102 were reduced to minimal levels, looping with a marginal BMP rate, spacey and sometimes entirely without beats. This was revolutionary: listeners had just become accustomed to the uncompromising Detroit techno sound that the three of them had produced so far.

GIFT CERTIFICATES

ADDRESS

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525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

Wednesday: 12:00-6:00pm/est

thursday: 12:00-6:00pm/est

friday: 12:00-6:00pm/est

saturday: 12:00-6:00pm/est

sunday: 12:00-6:00pm/est

NEW ARRIVALS/RESTOCKS FOR THURSDAY, JUNE 3

2010-06-07T09:58:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, JUNE 3

thanks for looking.

better late than never… sorry for the delay, the memorial day holiday and sudden burst of oppressive heat/humidity slowed down the gears around here. either way, yet another list of solid goods for you perusal filled with tons restocked and new essentials, all perfect listening material for the summer days ahead… read about em here or for optimal results, come on by the shop and check em out in person. as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

THE DEAD C- CLYMA EST MORT/TENTATIVE POWER 2LP (ba da bing, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Relegated to expensive fodder for eBay bidders until now, Clyma Est Mort can be considered The Dead C's "Ed Sullivan moment," except it wasn't performed live on network TV--it was recorded in a practice room in Port Chalmers, NZ, in 1992 with the inestimable Tom Lax of Siltbreeze as the sole member of the audience. Since the goal was to make a "fake bootleg" album for release on the mythical Proletariat Idiots Productions label--and in honor of the 13th Floor Elevators (often overlooked as an influence)--the band dubbed in fake audience noise from a gig by the Renderers. Despite the deliberate incompetence with which this was accomplished, Clyma is often touted as a "live album." This is only true in the sense that the band members were alive when they made it. This double-LP reissue includes Tentative Power, a collection of non-album tracks many consider among the band's best moments.

THE DEAD C- MAX HARRIS LP (ba da bing, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Max Harris captures the first recordings The Dead C ever made, back in January 1987. Each side displays a different and uniquely raw version of "Max Harris"--reinterpreted both times by a group who can truly say they have never played the same song in any form the same way twice. Anyone who doesn't own one of the original 21 cassette tapes made of these recordings will be hearing them together for the first time. Yes, they've never been on vinyl before, so maybe one can even say this is the tracks' first "real" release. You will be able to feel the slicing tension and drive right through your bones.

THE DEAD C- SECRET EARTH LP (ba da bing, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*dead c/ba da bing back catalog title in stock for the first time… The elegance of howling guitar noise was fully realized when The Dead C appeared. For over twenty years now, the trio has continually redefined what rock music is and can sound like, and have inspired Sonic Youth, Yo La Tengo, Wolf Eyes, and Comets On Fire, not to mention the current fertile underground noise scene. The Dead C is the ultimate blues band. But rather than departing from the heartfelt singing of the African-American South, they express the tenets of alienation in society with unrelenting force--a focused soundtrack to accompany Knut Hamsun novels, Samuel Beckett plays, and Ingmar Bergman films. Michael Morley's monotonic vocal moan anchors the inherent isolation of our modern world--nothing is more earnest, nothing sounds so lost. In its career, The Dead C has oscillated between two poles. Recent albums explore drones, electronic loops, and musique concrete. However, their new album, Secret Earth, proselytizes oceanic feedback, catastrophic drumming, and a return to the cripple rock blasts of their early material.

THE DEAD C- FUTURE ARTISTS 2LP (ba da bing, usa)
21.98usd/13.16gbp/14.59eur/1924jpy (approx)

THE DEAD C- FUTURE ARTISTS CD (ba da bing, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite restocked on cd, vinyl in stock for the first time… In their first new album since 2003’s The Damned and last year’s double-CD greatest hits behemoth, Vain, Erudite and Stupid, New Zealand’s The Dead C return with another uncompromising realization of the finest rock improvisation you’ll ever hear. Future Artists contains five tracks of genius drone and barbarous clashing sounds. From the first track, “The AMM of Punk Rock” through to the last, “Garage,” their intensity is unyielding, their inventiveness jaw-dropping. It’s been twenty years, and The Dead C show no sign of losing their ability to express the surreal and undefined. Long may they prosper.

THE DEAD C- TUSK CD (siltbreeze, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite restocked on cd… After years of flirting with profound torpor, the finger is removed from the carb and New Zealand’s favorite sluggish trio gets a lung full of bigtime entropy. Slow, quiet, and barely played, this masterpiece sounds like it was recorded by several death row inmates on morphine. The future of rock right here, right now.

SOFT ROCK AND LIGHT PSYCHEDELIC HARMONY

PAUL WATKINS & BROOKS POSTON- YOUNG GIRL 7” (helter skelter, usa)
6.98usd/4.18gbp/4.63eur/611jpy (approx)

*Breathtaking, innocently sinful folk obscurity from Paul Watkins & Brooks Poston of the Manson clan, developed in their wholly insular community of impulse, drugs, violence and marked creativity. 'Young Girl' reveals a softer, affecting beauty, the antithesis of their well-known exploits at the fringes of sadism and hatred: a spontaneous convergence of raw, self-taught instrumentation and the stupefyingly gorgeous voice of these outcastes. Fallen down a rabbit hole beyond their own comprehension, their song elaborates the fable of a similarly embattled youth, assaulted by the harsh landscape of adulthood and her struggle to retain the purity of childhood, free from the insanity of maturity and civilization. A search for key answers of adolescence and a simultaneous refutation of the intellect, 'Young Girl' reminds us that even in the depths of darkness, ignorance and despair, the most beautiful specimens of creation and transcendence can flourish. One-sided release.

CATHERINE HOWE- WHAT A BEAUTIFUL PLACE LP (numero group, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite now available on vinyl… Since arriving on London racks in the summer of 1970, Catherine Howe's debut album has been unavailable in its original format. Less than 20 LP copies survived Reflection Records' demise, and the album sat in the can until Numero's 2007 CD issue. Produced by the legendary jazz pianist Bobby Scott, this orchestral-folk master stroke has once again been set to lacquer, remastered and restored directly from the original master tapes specifically for this deluxe vinyl release. Gatefold package includes replica LP art and complete annotation on the sessions and history of this forgotten Brit-folk treasure." "It's like some missing link between Sandy Denny and Karen Carpenter, or between Ladies of the Canyon and Dusty in Memphis . If you buy no other reissue this year, buy this. - Barney Hoskyns, Guardian UK

BRUNER- SONGS FOR A FRIEND MLP (numerophon, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*For those puzzled by the cryptic jacket, NPH 44002 is the last of Linda Bruner’s known recordings, laid down sometime between her Vincent-issued “Sam” 45 and her brief tenure collaborating with Pisces. We hinted at its existence about a year back when we previewed a dour rendition of “Don’t Let Me Down.” Now we’re finally sharing the entire six track reel with the world. Songs For A Friend was tracked in 1970 in the back of Neilson’s Music Store on 7th Avenue in Rockford, Illinois. The box literally says “Linda’s Tape For Friend,” and we can only surmise that it was an attempt at a home spun mix tape from a time before mix tapes even existed. Her covers of “Wichita Lineman” and “Rainy Night In Georgia” are stirring, her powerful voice accompanied only by Jim Krein’s hushed acoustic guitar and coaxing’s. What we’re saying is, this shit’s not for the faint at heart.

NIELA MILLER- SONGS OF LEAVING LP (numerophon, usa)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite restocked… First release on a new Numero Group subsidiary label. Culled from a warped acetate cut at Variety Recording Service in 1962, Songs Of Leaving is the complete songbook of New York folkie Niela Miller. Something of a Bleeker & MacDougal scenester, Miller picked up the guitar after an encounter with Eric Weissberg, lent her Martin to Pete Seeger, and even had Dave Van Ronk cover 'Mean World Blues.' Her real claim to fame, however, is writing 'Baby Don't Go To Town,' a song that boyfriend Billy Roberts would steal and 'rewrite' as 'Hey Joe.' You've heard Hendrix, Love, the Byrds, the Creation, Wilson Pickett and hundreds others do it, now hear the original for the first time.

PUNK AND POST PUNK

ZOLA JESUS- STRIDULUM 12” (sacred bones, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… Since her debut lp for Sacred Bones last summer, Zola Jesus’s profile has grown exponentially. Her video for “Clay Bodies” debuted on The Fader and her likeness was plastered all over the Internet. The Spoils made dozens of year-end lists including The Wire, Pitchfork, The Fader, and Dusted, and fans and critics alike now seem rabid for new material. So without further ado, we present Stridulum, the new, far less lo-fi 6-song ep from Nika Roza Danilova. Recording her vocals for the first time with professional instruments, Nika’s voice is brought to the powerful forefront of the mix unleashing the full range of emotions that had previously only been hinted at in her previous work. It’s a siren song for the apocalypse, which manages to come across immensely nurturing at the same time.

MOON DUO- KILLING TIME 12” (sacred bones, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… moon duo is the solo alter-ego of wooden shjips guitarist and singer ripley johnson. Under the Moon Duo moniker Johnson creates expansive Krautrock influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard. This four-song EP is the second release and incorporates a much more concise, composed and driving sound than before. Johnson expands on ideas only hinted at on the Sick Thirst 12-inch (which is already long gone) adding a driving drum machine beat behind the thick walls of layered sound.

CHICKENS- CHICKEN SHIT 7” (siltbreeze, usa)
7.98usd/4.78gbp/5.30eur/698jpy (approx)

*Debut vinyl outing from Kyle & Mike (2/3rds FNU Ronnies + drum machine) following a cassette on Fan Death as well as a track contrib on last year's 'Skulls Without Borders' 10" comp. Can't say for certain where Chickens mine the toxic ore to forge their urk, but they uncannily tap into similar staub once snuffed by prime Euro movers such as early Dieter Meier & Geisterfahrer not to mention channeling the nascent vibe of Amphetamine Reptile (think Halo of Flies 'Insecticide Stomp' in particular). 4 tracks, 1 time edition of 400, no repress.

NAKED ON THE VAGUE- HEAPS OF NOTHING LP (siltbreeze, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*For this second full-length effort, Naked on the Vague eschew their tantalizingly sparse duo attack for a quartet line-up, and the results are as sensational as they are sinister. While the rickety, no-wave splat found on previous efforts had its appeal, the heft of a "proper" rhythm section has only helped Naked on the Vague delve deeper into the landscape of post-punk murk. Bleak, unrepentant, withering and droll, Heaps of Nothing is a 21st century codification of the gallows wit and mesmerizing otherworldliness of (Dub Housing-era) Pere Ubu, Primitive Calculators and Lemon Kittens. Shuttling mutant urbanity from past to present, Naked on the Vague is only too eager to confirm that the Earth isn't flat. Because Heaps of Nothing is here to flatten it.

NAKED ON THE VAGUE- BLOOD PRESSURE SESSIONS LP (siltbreeze, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Lucy Phelan and M.P. Hopkins hail from Sydney, Australia. Behind a basic framework of keyboard, bass, and vocals (and all manner of tinkered-with percussion) Naked on the Vague's distinct aggregate of sound calls to mind everything from SPK to Mars and beyond. Or, as they're fond of calling them in Philly, "the Death Star version of Times New Viking." Originally released in 2007 on CD by the fearless Australian Dual Plover label, The Blood Pressure Sessions ventures into a darker realm than their debut 7-inch (also on Dual Plover) had erroneously suggested. Propelled by the sharp, rhythmic snare drum beat and anchored by thunderous, fuzzed bass-lines and stinging, swinging organ and synth fills, Phelan and Hopkins take turns rounding out the vocal duties, giving the whole of their sound a sonorous curtain of ecstatic foreboding. Betraying a gallows wit, the band refers to their music as "apocalyptic pop," which could be construed as both drowning and waving.

PUFFY AREOLAS- IN THE ARMY 1981 LP (siltbreeze, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*For the past few years, Puffy Areolas have been fritzing synapses and scorching the landscape with their corroded psych / hardcore scree. Enlightened by the most unhinged charters of Acid Archives and Killed by Death alumnus, the Puffies' sound might best be described as embodying the Stooges' Raw Power if your pretty face had gone to hell. There, it would have encountered (among others) White Boy and The Average Rat Band, Tampax, Opus and Mag Amplitude for an eternal damnation of scarred depravity, the excesses of which would be legendary even by Hades standards.
In the Army 1981 is its own sadistic brand of plastic surgery, heavy on the anesthetic, short any bedside manner. Rude and ready for action, Puffy Areolas will forever be the bull in the china shop. And if that's China White you're talkin' about--well, friend, meet your new Daddy.

MOON DUO- ESCAPE 12” (woodsist, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… San Francisco's Moon Duo was formed in 2009 by Sanae Yamada and Erik Johnson (Wooden Shjips). Inspired initially by the legendary John Coltrane and Rashied Ali, Moon Duo counts such variant groups as Silver Apples, Royal Trux, Moolah, Suicide, and Cluster as touchstones. Utilizing primarily guitar, keyboards, percussion, and vocals, the pair plays space against form to create a primordial and disorienting sonic stew. They released two acclaimed records in 2009: the Love on the Sea 12-inch single on Sick Thirst and the Killing Time EP on Sacred Bones. Escape, their debut long-player on Woodsist, marks the fullest realization yet of the young group's evolving sound.

FUNK AND SOUL

V/A- ECCENTRIC BREAKS & BEATS LP (numero group usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Over the course of seven years and over 70 releases, a fan began to create a mega-mix of his favorite loops, breaks, and vocal snippets, chopping them all up and piecing together an incredible musical narrative–a 40 minute, saw blade-labeled 12” boot that was pressed and seeded to handful of DJs and producers. Naturally, word got back to Numero, but instead of issuing the obvious cease and desist letter, the label decided to go one better. Imitation is the sincerest form of flattery, so in a true nod to all fans out there, the Numero Group, via our Numbero imprint, is issuing Eccentric Breaks & Beats as an homage to the breaks and beats collections of yore, bootlegging our own bootleg, as it were. It took some time and effort, but we were finally able to track down the creator of this essential collection, and delighted to discover that it was the apocryphal label and production team, Shoes, who have previously re-worked Moodyman, Al Green, Miles Davis, and dozens more. Featuring over 50 tracks from some of the best artists associated with Numero, it’s both an essential turntable item and an intriguing musical puzzle.

GLOBAL SOUNDS

CHARANJIT SINGH- TEN RAGAS TO A DISCO BEAT 2LP
(bombay connection, netherlands)
29.98usd/17.95gbp/19.90eur/2625jpy (approx)

*Gatefold 2LP version. Until recently it wasn't much more than some rumors on the web: an LP called Ten Ragas To A Disco Beat featuring acid house avant la lettre, that was recorded in 1982 in India, 5 years before the first acid house record, Acid Trax by Phuture. It was even rumored to be a prank spawned by Richard D. James (Aphex Twin). So it turns out, the record was no rumor. Only a few hundred copies of the LP were ever pressed, and only a handful seem to have survived. Moreover, the LP outdoes all expectations. Performed on the synths that would later define acid house, the Roland TB-303 and TR-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. Its maker, Bollywood session musician Charanjit Singh (featured on Sublime Frequencies' Bollywood Steel Guitar compilation), set out to translate ancient Indian classical ragas to the modern synthesizer and in doing so invented house music along the way. The 10 tracks make a consistent listen from A to Z. Its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive. Includes extended liner notes on Charanjit Singh and the context in which the album was recorded. "...a haunting, exotic prefiguration of acid's steely futurism, a bit like Kraftwerk live at the Taj Mahal, somehow summoned from the past but envisioning the future at the same time." -- Resident Advisor

TINARIWEN- IMIDIWAN: COMPANIONS LP (independiente, uk)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*shop favorite restocked… Imidiwan: Companions is Tinariwen's fourth release for World Village and it possesses all the elements that have made them so magnetic to Western ears: raw simplicity, melodic beauty and songs ranging from the epic and universal to the intimate and personal. The album was recorded in the Malian village of Tessalit, home of band members Ibrahim Ag Alhabib and Hassan Ag Touhami. Already a certified bestseller, Imidiwan: Companions is now being issued as a limited edition, single-pressing lp.

PRINCE NICO MBARGA AND ROCAFIL JAZZ INTERNATIONAL- COOL MONEY LP
(klimt, france) 29.98usd/17.95gbp/19.90eur/2625jpy (approx)

*Prince Nico Mbarga (1950-1997) was a half-Cameroonian Nigerian highlife vocalist and guitarist whose music played a significant role in the evolution of African pop music. His 1976 hit song 'Sweet Mother' (which sold more than 13 million copies) is so popular that is sometimes called 'Africa's anthem', no small feat for a continent with such a rich musical tradition! Like many, Prince Nico began playing with a hotel band in 1970, and by 1973 had his first local hit. Cool Money is a rare 1979 album, originally released on the Nigerian RAS (Roger's All Stars) label, when the artist was at the height of his success. Prince Nico was unfortunately killed in 1997 in a motorcycle accident, which of course, has only added to his legend.

CHIEF BRIGADIER OLU ONI AND HIS MARATHON SYSTEM- JUJU MARATHON SYSTEM VOL. 1 LP (klimt, france)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*shop favorite restocked… A traditional form of Nigerian popular music, Juju spreads from the ancient Yoruba percussion style and its first recordings can be dated back to the 1920s. Taking its name from the shamanic rituals of the southwestern regions, Juju evolved into a very popular musical genre in the '60s and '70s when artists of the caliber of King Sunny Ade and Ebenezer Obey (aka Chief Commander) took it to a new apex, blending traditional instruments -- like the talking drum with elements of western music, such as the guitar. Chief Brigadier Olu Oni adds to this extremely popular genre a hint of international elements, and this record has brought Juju beyond West Africa and into the rest of the world.

SIR WARRIOR AND HIS ORIGINAL BROTHERS INTERNATIONAL BAND- ONYE OBULA ZOBA ISI ONWEYA LP (klimt, france)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*shop favorite restocked… This 1981 album epitomizes the incredible career of a prodigy, who started at age 11 as a member of an Ese ensemble, a traditional Nigerian form of choral music, and has since excelled in many of the varied forms of African music. The most distinctive genre created by Sir Warrior (born Ezebuiro Obinna) is the one known as Nigerian 'high-life' music, a modernization of Ghanian high-life obtained by combining elements of tradition with a modern musical approach. In Warrior's case incredibly gifted guitar playing combined with lyrics deriving from traditional Igbo proverbs made him a pop icon and superstar, with hundreds of hits and dozens of best selling records all over Africa.

V/A- NIGERIA SPECIAL VOLUME 2: MODERN HIGHLIFE, AFRO-SOUNDS & NIGERIAN BLUES 1970-76 3LP (soundway, uk)
31.98usd/19.15gbp/21.23eur/2800jpy (approx)

*shop favorite restocked… The Soundway label presents a second volume in their Nigeria Special series. This volume features tracks that have been forgotten or out of print for nearly 35 years, but have since been tracked down and documented by Miles Cleret. The fruits of this arduous labor has taken over 10 years of dedication, research and travel to Nigeria, now culminating in the final part of Soundway's extensive survey of Nigeria's forgotten musical history. The range of styles on Nigeria Special Volume 2 vary from highlife to Juju and Nigerian blues in the languages of Yoruba, Igbo, Bini and Ijaw. With a peppering of "Afro" experimentation, the same musical stew pervades volume 2 as its predecessor -- some artists appear again alongside some new artists as the emphasis continues to focus on the laid-back and mid-tempo feel found on volume 1. It includes the bluesy guitar band style of The Otarus and The Peacocks International Guitar Band, sitting opposite the more uptempo sound of highlife legends Stephen Osita Osadebe (here bringing his Igbo version of the Cuban standard "Peanut Vendor") and Paulson Kalu. Progressive outfits Black Zenith's', The Don Isaac Ezekiel Combination, Tunji Oyelana, The Nkengas, Opotopo and Joy Nwoso remind us that these were indeed experimental times with their fusions of jazz, highlife and in the case of Nwoso, opera!

V/A- NIGERIA AFROBEAT SPECIAL: THE NEW EXPLOSIVE SOUND IN 1970S NIGERIA 3LP (soundway, uk)
31.98usd/19.15gbp/21.23eur/2800jpy (approx)

*shop favorite restocked… This is the fourth addition to the Nigeria Special series, a project initiated in 2004 by Miles Cleret, owner of the Soundway record label. Focusing on the big-band sound dominated by wailing saxophones, brass solos and relentless poly-rhythmic grooves, Nigeria Afrobeat Special delivers a no-nonsense collection of tracks that (bar one) have NEVER been re-issued outside of Nigeria. It was Fela Kuti and his musical and political ideals that formed the core of Afrobeat's message. Fela's highly sought-after version of "Who're You?" lends this set its lead. Originally released on 7" in 1971, it would later be re-recorded at Abbey Road for his album Fela's London Scene and is re-issued here for the first time ever. The collection features Fela's rival and fellow Afrobeat veteran Orlando Julius, represented by the track "Afro-Blues" -- amazing that this has previously managed to escape re-issue. Also featured are tracks by big names on the Nigerian scene -- Eric Akaeze, Bongos Ikwue and Segun Bucknor as well as a Victor Uwaifo-produced cut by previously unknown artist Andrew "Madman" Jaga. The album also features a cut featuring Pax Nicholas, a singer whose album Na Teef Know De Road Of Teef has recently been made available after 30 years. Cleret's ambition to distinguish the blossoming music scenes of 1970s Nigeria has lent to an indispensable series of CD and LP compilations documenting the influence of western blues, rock and disco amongst artists and musicians versed in the local musical styles of highlife and juju.

V/A- NIGERIA DISCO FUNK SPECIAL: THE SOUND OF THE UNDERGROUND LAGOS DANCEFLOOR 1974-79 2LP (soundway, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Lagos, Nigeria, 1974-1979: the funk & disco capital of West Africa. More nightclubs, bars, spots and dancefloors than any place along the coast from Dakar all the way to Kinshasa. Nigeria Disco Funk Special is an amazing collection of heavy dancefloor grooves from urban Lagos in the '70s -- hot and driving slices of funk, disco and boogie that show just how vibrant the music scene was in one of West Africa's most populous and culturally diverse cities. In the '70s, it wasn't just James Brown who influenced the musicians playing in the nightspots of Lagos -- the loose-structured and elongated jams that he was pioneering in America had been a part of Nigerian music much longer than that. This album is the sound of Cuban-heeled and micro-minied Lagos youth soaking up the sound of the American discotheque and putting their own inimitable twist on the proceedings. The CD and double gatefold vinyl include rare tracks from famous musicians like Bongos Ikwue & The Groovies and Mono Mono's Joni Haastrup, as well as selections from cult bands like Asiko Rock Group, SJOB Movement and Jay-U Experience. Other artists include: The Sahara All Stars, T-Fire, Voices Of Darkness and Dr. Adolf Aonotu.

V/A- NIGERIA ROCK SPECIAL: PSYCHEDELIC AFRO-ROCK & FUZZ FUNK IN 1970S NIGERIA 2LP (soundway, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Nigeria Rock Special shines a light on the flipside of the well-documented sounds of highlife and Afrobeat coming out of Nigeria in the 1970s -- young bands caught up in the wave of psychedelic and progressive rock that was sweeping Europe and the States in the late '60s and early '70s. As time goes by, the many layers of musical output that formed around the world throughout the 1960s and '70s continues to be peeled back to reveal many welcome surprises. The explosion of rock n' roll that erupted out of the USA in the '50s fanned out around the globe from its epicenter and by the mid-1960s, kids all over the world were picking up guitars and checking themselves in mirrors. Nigeria was no exception. Spurred on by Cream drummer Ginger Baker's visits to Lagos and his band Airforce (featuring many Nigerian musicians), the sound of fuzzed-out rock reverberated around the universities and nightspots of Lagos and Ibadan. The craze that followed hit the youth and student population of Nigeria hard -- mixing fuzz guitar and heavy African rhythms with elements of Led Zeppelin, Traffic and The Chambers Brothers. Fifteen of the best cuts from the scene are available here for the first time in 30 years. Artists include: Ofege, The Action 13, The Hygrades, The Wings, Ofo The Black Company, The Elcados, Mono Mono, Tabukah "X", The Funkees, Colomach, Joe King Kologbo & His Black Sound, Question Mark, Original Wings, Tunji Oyelana and BLO.

V/A- PANAMA!3: CALYPSO PANAMEÑO, GUAJIRA JAZZ AND CUMBIA TÍPICA ON THE ISTHMUS 1960-75 2LP (soundway, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… After two very successful and well-received previous volumes of tropical rarities from Panama, co-compilers Roberto Gyemant and Miles Cleret are joined by Will "Quantic" Holland for the final piece of this unique series. Volume 3 showcases more of the unique tropical music created in Panama in the fertile decades of the 1960s and 1970s. Panama is the thin, tropical bridge that connects North and South America, and is home to three million culturally-diverse people; its music is a soulful blend of Latin American, Caribbean, European and indigenous forms. From bilingual calypsos to guajira jazz, from tropical guarachas to cumbia tamboreras, Panamanian musicians fearlessly combined and brilliantly executed styles that reflected their multicultural environment during a turbulent time in the young country's history. This collection presents more of the golden age of Panamanian music and the music of the combos nacionales on rare recordings that have never been released outside the isthmus until now.

V/A- PANAMA!2: LATIN SOUNDS, CUMBIA TROPICAL & CALYPSO FUNK ON THE ISTHMUS, 1967-77 2LP (soundway, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Soundway presents the second volume in their Panama! series, showcasing the unique tropical music created in Panama during the fertile decades of the 1960s and 1970s. Panama is one of the world's great crossroads -- a bridge between North and South America, and home to the great canal that links the Caribbean and the Pacific. The canal itself was built by a huge workforce from all over the Caribbean and South America, each nationality bringing a taste of their culture and music to make up the hugely diverse nation that exists today. After soaking up the varied influences of Panama's diverse population, the dancefloors and bars spat out a heady mix that took in the raw vallenato of neighboring Colombia, the soul and funk of America, the calypso of Trinidad and the son and rumba of Cuba, all combined and re-styled in a uniquely Panamanian fashion, making Panama a central spoke in the wheel of Caribbean music. Writer and compiler Roberto Ernesto Gyemant travelled throughout the country in search of elusive records and reclusive musicians, tracking down hopeful tips and half-remembered names and addresses. Two years of digging through dusty warehouses and old radio stations in search of crackly records and dusty photos led to an exhaustive look at the musical culture of this fascinating country. If you think salsa is the sum total of Latin American music, then think again -- the hot sound of Panamanian musica tipica and calypso Español throws everything into the mix for a non-stop journey through Afro rhythms, carnival sounds, tipica soul and cumbia madness! Listen to the heavy tamborito rhythm of Los Silvertones and you'll hear where the instantly-recognizable, syncopated beat of modern-day reggaeton was born. Check the countrified re-versioning of Willie Colon's classic "La Murga" -- a perfect riposte to those that think Latin music begins and ends with Shakira. Listen to "La Escoba" by Alfredo y Su Salsa Montañera, and see that the currently in-vogue sound of cumbia owes as much to Panama as it does Colombia.

V/A- THE AFROSOUND OF COLOMBIA VOL. 1 3LP (vampisoul, spain)
39.98usd/14.95gbp/16.58eur/2187jpy (approx)

*Over 2 ½ hours of funky, hot Afro-influenced tracks from the '60s and '70s golden-period of the seminal Discos Fuentes label in Colombia. Forty-three dancefloor hits provide an irresistible mix of genres: salsa, cumbia, boogaloo, tropical funk, and chicha. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities. This release deals with the unique sounds produced as a result of the inventive mixing of pop and roots that took place in the urban confines of the Discos Fuentes studios, far from Colombia's coastal regions. The invented term "Afrosound" serves as the title of a thrilling and sometimes odd soundtrack that chronicles the diffusion and evolution of the musical culture from those coastal regions as it was brought inland, where it was translated, simplified, mass marketed, manufactured, modernized, "whitened," globalized, recycled, and then sent back to the world at large, disseminated from the cities of Medellín and Bogotá, where the major bulk of the music production industry resided in the '50s through to the '70s. To tell the story of Afrosound, you not only have to know about the influence of Afro-Antillean music and indigenous Colombian tropical coastal genres, you also have to know something about the history of Discos Fuentes and musician/producer Julio Ernesto "Fruko" Estrada. Suffice it to say that the coastal area of Colombia shares in common with other areas in the Caribbean Antilles a certain tropical mix of sensuality and syncopation that somehow manages to combine joy and pain in a transporting wave of rhythm and melody that is food for the soul. The tracks on this compilation were chosen from the vast archives of Discos Fuentes because they are fun, funky, and unexpected. The title of this compilation comes from one of the Fuentes bands, Afrosound, but here it's taken more as a general term to denote the funkier side of the label's prolific output in the '60s and '70s. The unifying factor for the collection is that the tracks all have something to do with African roots or influences in one way or another, and they mark a period of sonic experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers, and engineers. Full-color printed inner sleeves include in-depth liner notes with rare photos and original LP artwork.

FELA KUTI & EGYPT 80 BAND- BIG BLIND COUNTRY LP (Yoruba, nigeria)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

* Totally unreleased album. Lyrics are available on back cover. B.B.C. or Big Blind Country is a real pamphlet against Nigerian's government and army as famous song 'Zombie'. This unreleased track until now was recorded with the Egypt 80 including Femi in the early 1990s with top quality sound. A lost and hypnotic tune from the king of Afro beat. Limited to 1000 copies.

REGGAE AND DANCEHALL

KEITH HUDSON- PLAYING IT COOL & PLAYING IT RIGHT LP (basic replay, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… This is the first release on Basic Channel's reggae reissue imprint, Basic Replay, founded by Moritz Von Oswald and Mark Ernestus. Keith Hudson -- as is Lloyd 'Bullwackie' Barnes, his collaborator here -- was a one-off innovator with impeccably classical lineage: his first studio recording involved former Skatalites; his earliest releases provided solid-gold hits for Ken Boothe ("Old Fashioned Way," 1967), John Holt, Delroy Wilson, U-Roy and the rest. Playing It Cool & Playing It Right was released in 1981 on NYC's Joint International label. It was originally intended that one of Hudson's teenage sons would voice the dubs: in the event the Love Joys, Wayne Jarrett, and most inimitably Hudson himself featured at the microphone. Like Wackies, Hudson was a Studio One devotee -- "I used to hold Don Drummond's trombone for him so I can be in the studio," he once recalled -- and the album follows Coxsone Dodd's strategy of overdubbing signature rhythms. The Studio One sides were aimed at the dancefloor; Hudson's reworks of tracks like "Melody Maker" are more psychological. Here deep Barrett Brothers rhythms are remixed deeper with reverb, filters and other distortion, pitched down, everything; and overlaid with new recordings, often heavily treated, of guitar, percussion, keyboard, voice. Playing It Cool & Playing It Right is legendary, strange, utterly compelling music.

KEITH HUDSON- FLESH OF MY SKIN BLOOD OF MY BLOOD LP (basic replay, germany)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite/essential restocked… Originally released in 1974 on Mamba, Flesh Of My Skin Blood Of My Blood is the most hallowed of all those reggae albums which remain unavailable, and Keith Hudson's key achievement in a career launched when, as a fourteen-year-old, he recorded members of The Skatalites on his "Shades Of Hudson" rhythm. After a series of solid-gold productions for Ken Boothe, Delroy Wilson, John Holt, U-Roy and the rest, this album projects Hudson's removal from Jamaica to London and New York studios and transatlantic audiences, and inaugurates a sequence of albums -- classics like Pick A Dub, Brand, Playing It Cool, Playing It Right -- which show his troubled experimentalism better suited to the LP than the cardinal 7" reggae format. Anchored here by Santa Davis and George Fullwood from the Soul Syndicate -- alongside musicians like Augustus Pablo, Count Ossie and Leroy Sibbles -- Hudson's mood is tormented and dazed, as on titles like "Darkest Night," "My Nocturne" and "Testing My Faith," where he struggles for Black senses of commitment --political, existential, religious -- at its breaking point. Magnificently and deadly serious, hauntingly unique, unmissable and unforgettable.

MANKIND- THESE THREE GIRLS/COUNTRY LIFE 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Double-sided late '80s digital monster, from longtime collaborators Sydney 'Mankind' Francis and Dennis 'Jah D' Fearon! Jah D is one of the unsung heroes of reggae music - uncredited session player and arranger on countless classic sides, including many from Studio One, much of Joe Gibbs' classic roots material, Junior Dan's tunes, as well as piano tuner extraordinaire at just about every legendary studio in Jamaica. Jah D continues to arrange and produce music regularly at his Grant's Pen studio, along with his son, on their own Builder's Music label. Sydney 'Mankind' Francis began as the singer in Jah D's former band Food Clothes & Shelter, while voicing tunes for early '80s labels such as Music Ambassador. By the time of the full-on digital explosion of the late '80s, Mankind was honing his skills as a solo artist, voicing tunes for big labels of the day, such as the wicked 'Hot Number' for Stereo One. It was around this same time that Mankind and Jah D entered Aquarius studio, to work on making some tunes intended for Mankind's debut album, and to be voiced over some wicked new digital riddims freshly built by Jah D on the new digital keyboards and drum-machines which had fast become the standard bearers in dancehall production. Two tunes from this session were given to an upstart UK producer for issue on his new label, and there you have 'These Three Girls' and 'Country Life', originally issued on 12" via the Jah Man label, only in UK. Over twenty-years later, these tunes have been rightfully recognized by astute listeners as classics of their era - the riddims sharp and crisp, the vocals a sweet match, the dubs...heavy! Digikiller humbly re-presents this great music of our friends, these two tunes are one in the world!

AKSUMITES/NIGGER CHARLIE- ARK OF THE COVENANT/COVENANT ROCK 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*From the deepest wellspring of New York City roots, the Bronx, returns one of the most seldom heard and mystical pieces of roots music ever made. The Aksumites were a roots harmony trio unlike any other, and the 'Ark of the Covenant' is their masterpiece. Group leader and songwriter Andrew McCalla came to New York City from Trenchtown in the first half of the 1970s, and quickly took up work as a solo artist and song writer for Bullwackie's and Munchie Jackson, releasing solo tunes on now-legendary labels like Aires. But at the turn of the 1970s into the 1980s, the Aksumites group got to work self-releasing some discomix 12-inches , including this one, a just-shy-of eight minutes long vocal side of singing and chanting, backed by a rhythm heavy enough to match their message. The flip side is the same heavier-than-lead approach, with the rhythm being mixed for vocal delivery in fine deejay style by Nigger Charlie (despite some labels saying 'Dub', the flip has in-fact always been the deejay version!). The incomparable rhythm track was laid in New York by the New Breed Band, now well known for their work on many releases from the Wackie's camp. The rhythm was then taken to Channel One in Kingston, for voicing, overdubbing and mixing. The group released the disco just once, but with two different labels - the Thebes Sounds label was designated for Jamaican distribution, while the Aksum Records label would be for distribution in NY. Over the years this record has quietly attained the reputation it rightfully deserves, among the select few lucky enough to hear it. But it need be quiet no longer, and so Deeper Knowledge Records joyfully presents it again...behold the 'Ark of the Covenant'!

CANE JUICE JOKER BAD BOY/VERSION 7” (digikiller, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Digikiller proudly presents the first round of releases in a multi-part program of reissues from producer Trevor 'Leggo' Douglas! As a long-time Orange Street producer, record store owner and then studio owner, Leggo has built a solid catalog of both wicked roots and dancehall, from the 1970s all the way thru the 1990s. For some time we've been huge fans of Leggo's productions, but as collectors we've found many of them inexplicably hard to find. So we're honored to be able to bring back some of our favorite Leggo productions and make them heard by all who will listen! From 1986, 'Joker Bad Boy' by Cane Juice. Amazingly advanced digital riddims, played live and arranged by Leggo's longtime spar Flabba Holt of the Roots Radics. Cane Juice, long one of our favorite singers, sends a message about all false bad boys, with his infamous lyric 'nuff bwoy a love up di gun but dem fraid a di bullet.'

V/A- IT A ROAD BLOCK 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*A1: Kevin "Skie" Warrington - It A Road Block; B1. Mikey Jarrett - Vicey Verse; Satta George - Watch The Woman Them A Fight Fe Man. "The Skie Warrington 12" was only released in NY, and is presented as it was originally issued. Produced at Channel 1 in the mid '80s, then voiced in New York, this Mikey Jarrett production is one of our favorite heavy rhythms of its era.

SCION SUCCESS/MADOO- SETTLE THEM A SETTLE/LOSE RESPECT 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*One tough rhythm, five vocal cuts (one previously unreleased!) and two different dub versions, spread across two twelve-inches. The Scion Success 12" was issued in NY and the UK, originally released with a tune on a different rhythm on the other side. Here instead we present the fantastic and dark *previously unreleased* vocal from Madoo, to complete the version excursion.

KING KONG- HE WAS A FRIEND/TRY NOT I 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*High quality US pressing. One of the baddest double-sided late '80s digital twelve-inches from one of our favorite singers, now back on road! King Kong self-produced and released this disco in the UK, with 'He Was a Friend' also coming out on seven-inch in JA on the Jah All Mighty label. 'He Was a Friend' is an awesome, far-east tinged riddim, the lyrics a tribute to the late great Tenor Saw, a spar and friend of King Kong. 'Try Not I' is pure sound killing style, over a spare but heavy and menacing riddim.

PAD ANTHONY- WE RULE THINGS/ROCK ON 12” (digikiller, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*From one of the biggest artists of the digital era, here's two wicked cuts that originally appeared only on CRAT 12" in Brooklyn, New York in 1987. This is one of the most underrated releases in the CRAT discography. Tuff dancehall lyrics both sides.

HORACE ANDY- EXCLUSIVELY LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Appearing originally on the Solid Groove label out of Croydon in South London, Exclusively is sometimes misconstrued as the UK issue of Dance Hall Style. The tracks from both were recorded at the same sessions -- with Bullwackie joined at the controls by Junior Delahaye and Prince Douglas, and issued close together in 1982-83, Croydon first. Half of Exclusively non-exclusively versions four tracks from the Stateside release, and three are re-titled. Also "Eating Mess," which appeared on the first pressing of Dance Hall Style, though unlisted on the sleeve. The mixes are all different (and without dubs). Five further specials include the funky "Musical Episode," a superior Bob Marley tribute, and a version of "Rougher Yet." It's all vintage Wackies, and spun out of Horace's all-time greatest album -- unmissable.

BULLWACKIES ALL STARS- BLACK WORLD LP (wackie’s, germany)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*shop favorite/essential restocked… Black World originally came out in 1979, on the Wackies' imprint, Hardwax. (The original cover commemorated the first year of Honest Jon's new reggae shop Maroons Tunes, Bullwackies' UK distributor.) It's a tough album, with Leroy Sibbles guiding the selection as well as sharing bass duties -- there are versions of his classic composition "Guiding Star" and stylish Wackies heavyweight, "This World." "Tribute To Studio One" reworks Heptones' "Gonna Fight"/"Hail Don D." as modern steppers, with the kit-drums -- as throughout this album -- supplemented effectively by the latest electronic innovation from Japan. "Skylarking" puts in an appearance; and two full Joe Auxumite vocals from the solo album scheduled for release around this time, but abandoned when most of the tapes were lost. A dub version of Delroy Wilson's "Rain From The Skies" rounds out proceedings.

BULLWACKIES ALL STARS- FREE FOR ALL LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Out originally on the Aires label, in a plain, stencilled sleeve, this is a thrilling early-mid-'70s dub album based around three cuts of the dreader than dread Free For All rhythm. The music is made by Melvin "Munchie" Jackson and Lloyd Barnes, with productions begun in Jamaica and finished at the Sounds Unlimited studio in New York. Several surfaced at different stages as 7"s on Bullwackies' Aires imprint, and on the Tafari label which Munchie ran with his brother Maurice and Little Roy, in the Washington Gardens district of Kingston. The title track was recorded at Randy's, and came originally on The Heptones' Hepic label, featuring "Family Man" Barrett on keyboards, and on the DJ cut here, "Meditation Dub" -- sounds like Charlie Ace. There are dubs of Little Roy's "Tribal War" and "Black Bird"; Stranger Cole's "My Application," later re-voiced by The Heptones, turns up as "Dis-Ya-A-Dub"; and if things weren't smoke-filled enough, roots is the rhythm of K.C. White's "All For Free." Hard to imagine a heavier dub set reissued this year.

JOHN CLARKE- ROOTSY REGGAE LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Visions Of John Clarke was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself "President of the John Clarke Fan Club" -- and the album attracted the interest of Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full license. Released soon afterwards, the new version -- entitled Rootsy Reggae -- duplicated five tracks from the previous version, but with markedly different mixes, fresh edits, and some additional new instrumentation.

JOHN CLARKE- VISIONS OF JOHN CLARKE LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Visions Of John Clarke was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself "President of the John Clarke Fan Club" -- and the album attracted the interest of Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full license. The singer -- not to be confused with Johnny Clark -- had been running with the Wackies operation for the past six years, ever since moving from Jamaica to New York. He'd cut memorable sevens with co-founder Munchie Jackson for the Tafari label -- like "In Search of The Human Race and Recession" -- and also worked with Lloyd Barnes for such Bullwackies imprints as Versatile and Wackies.

MILTON HENRY- WHO DO YOU THINK I AM? LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Milton Henry's handful of classic sides -- like his version of "Gypsy Woman," or "Cornbread and Butter" or "This World" and "Follow Fashion" over the Upsetter's fever rhythm (under the artist name King Medious) -- made him a natural Wackies' recruit when he relocated from Jamaica to New York City in the late '70s. Soon after, he was fully involved in the day-to-day business of the operation, supervising sales and promotion, making deliveries, even holding spare keys to the studio for whenever Bullwackies himself was away. He appears in this activist role on the front-sleeve photograph, just up White Plains Road from the Bronx HQ: by its title, though, and first and last songs, this album also hints heavily at the past musical accomplishments of its mystery hero. The record was released first in London, in 1984, during the first months of Wackies Dean Street office, in north Soho. The band is basically Itopia. Sly Dunbar gets a credit -- though neither he nor Robbie Shakespeare ever set foot in the studio: as if in acknowledgment for this rhythm, is "No Dreams." Jackie Mittoo and Bagga are 'pon the corner, from Studio One; Jerry Johnson and Neville Anderson are on brass; also Sugar and Max Romeo; and Sonia from the Love Joys performs a duet. "No Dreams" is the true story of Milton sleeping in the attic above the studio when the rough drum and bass track came onto the desk, waking him, pulling him to the mic; "Them A Devil" is aimed at certain producers passing off the singer's property as their own; "Good Old Days" was written for a poor Junior Byles, remembering times shared.

JAH BATTA- ARGUMENT LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Tony O'Meally aka Jah Batta is the Bullwackies acolyte featured recently with Rhythm & Sound on the Burial Mix single 'Music Hit You'. On this album from 1983 his buoyant deejaying follows Lone Ranger's massive revival of U-Roy's legacy. Upful dancehall vibes address topics such as vegetarianism, skin color, school, good old-fashioned rocking the mic. One toast laments Batta's girlfriend running off with Sugar Minott. And the album is a must even for its rhythms alone: basically top-notch Youth Promotion material from Channel One in JA, overdubbed and remixed at White Plains Road in the Bronx, with contributions from Sly & Robbie, and Bagga and Jackie Mittoo from Brentford Road, alongside Wackies regulars. Version excursions include Sugar originals like Informer and Jezzreel's 'Stop Playing Tricks', Bob Marley's 'Too Much Trouble', and deadly do-overs of Studio One cornerstones like 'Throw Me Corn' and 'Real Rock'. Do it, Jah! Flash it!

JEZZREEL- GREAT JAH JAH LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Taking its name from Jezreel, the Biblical city founded by the tribe of Issachar, where God is said to have cursed Ahab for his greed, this singing duo's debut 1980 Wackies album is steeped in rasta spirituality. Clive Davis and Christopher Harvey step forward from the backing line -- on innumerable Sugar Minott sessions for example -- and into the company of the great JA vocal combos of the late seventies: as at home with Viceroys-style harmonies as with traditional Impressions- and doowop-derived flourishes; as comfortable riding Channel One-style steppers as with more laid-back, lover's grooves. Dug in behind them is drummer Jah Scotty's New Breed Band -- also known as the Reckless Breed -- falling between the Sylvester Brothers and Itopia as Wackies in-house crew. Included in the lineup this time are two of Lloyd Barnes' sons, Bob and Shaan. Appearing as Reggae Jerry, guitarist Jerry Harris is in top form, and as Jerry Hitster he contributes some startling keyboards (alongside Sylvesters' old-boy Roy Robertson), not least in the opening bars. Most of the rhythms are one-offs, though "Roman Soldiers" is the militant first outing of "Nature's Dub", and "Living In The Ghetto" is "Kicking Scott" from the same album. (On top, the sleeve features vintage reggae typesetting by Leslie A. Moore, LAM Graphics Int.) This is a showcase reissue, with all tracks extending into inventive dubs. Arrangements are by Lloyd Barnes and Jah Hamma, aka Prince Douglas, who also work the mixing desk.

LOVE JOYS- REGGAE VIBES LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Reggae Vibes was the Love Joys' first album, initially released in 1981 on the Florida-based Top Ranking label (when it was also entitled Jah Light on the inside labels). It features 10 tunes produced and recorded at Wackies NY, ranging from Lovers Rock Reggae Style and uptempo dance vibes to roots and reality. Tracks include: 'Stranger' and 'All I Can Say' (which also appear on Lovers Rock Reggae Style in different mixes); 'Studio Man', a tribute to Bullwackie himself; 'Jah Light', in Bullwackie's words, 'shining a favorite of mine and very inspirational in all of the crew at Wackies, with Jah Scotty always ready to drum up some steady beats along with Roy Bassie from the Wackies Rhythm Force'; Watch Them, 'a revolutionary cry from Sonia Abel -- a very special writer that can stretch far into her imagination -- just vibing in the studio '; Love Is Not A Game, 'typical lovers rock sharing roots feeling in a dance style, Love Joys Stylee'; How Long, 'another love song, sweet sounding vocals makes life feel real special'. A must for all Wackies fans.

LOVE JOYS- LOVERS ROCK REGGAE STYLE LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Rhythm & Sound/Basic Channel inaugurates its Wackie's reissue series with Lovers Rock by the Love Joys aka cousins Sonia Abel and Claudette Brown, originally from Brixton, England. This women's roots album is a milestone in reggae, a refreshing departure in a tradition dominated by men. With the classic Wackie's sound magnificent behind them -- 'Lovers Rock', showcase style, in extended versions -- the duo beautifully and skilfully meshes social critique and affairs of the heart, from a woman's point of view. Lovers Rock is one of the best and rarest albums on the legendary Wackie's label produced by Lloyd 'Bullwackie' Barnes in 1982. Musicians include: Jah T, Clive Hunt, Rolando Alphonso.

THE MEDITATIONS- I LOVE JAH LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… This is the first ever release of a masterful The Meditations album recorded by Bullwackies in the heady months of 1982. The lineage of The Meditations -- Ansel Cridland, Winston Watson, Danny Clarke -- elaborates Wackie's' classical project perfectly: from their introduction by Stranger Cole (who would himself record for Wackie's) to Dobby Dobson back in 1975, and their hits for him under the supervision of ace Studio One engineer Sylvan Morris through revered Lee Perry productions. This album evokes and deepens the atmosphere of those Black Ark sides -- but cuts the group's militant rasta reputation with ecstatic soulful sensibilities. The tracks comprise six originals -- brand new, prime Bullwackies music -- though the title cut recasts 'I Shall Be Released' via interpretations for Studio One's Coxsone Dodd and Lee 'Scratch' Perry by The Heptones (another all-time-great Jamaican vocal trio with an unreleased Wackie's album recorded during this period). The luxuriant sublimity of the mature Wackie's sound -- dubwise from start to finish, with the drums of Jah Scotty and big-city-blues guitar of Barry Vincent outstanding -- sets off some of the finest trio harmonizing you will hear.

PRINCE DOUGLAS- DUB ROOTS LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Engineer Douglas Levy was part of the original Wackies set up from 1974-75, alongside Lloyd Barnes and Jah Upton. For a while he would have his own label -- Hamma -- within the Bullwackies group; but besides Sugar Minott's International Herb, this 1980 dub album is his finest work. Wackies' fans have been clamouring for its reissue ever since Rhythm & Sound began making the catalogue available again. Many of the rhythms are derived from a tape given to the studio by Sly and Robbie, containing their versions of recent Joe Gibbs hits. And there are brilliant treatments of Tribesman Dub -- the rhythm for Tyrone Evans' 'Black Like Me' -- and Wayne Jarrett's definitive interpretation of 'Every Tongue Shall Tell.' Elsewhere Jah Batta takes deejay duties -- likewise Prince Douglas himself. (And there are lovely skewed graphics by team regular Leslie Moore, self-styled 'LAM International'). But the deadliest cut of all reworks another gift, Steel Pulse's 'Handsworth Revolution,' which arrived in a parcel of records from England the same weekend as the session: 'March Down Babylon Dub,' with Bullwackie himself at the microphone in his Chosen Brothers guise, as steely and apocalyptic as Douglas Levy's fabulous production.

ROOTS UNDERGROUND- TRIBESMAN ASSAULT LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Originally issued around 1977, this dub album collects Wackies recordings made in JA -- studios like Randys, Black Ark, Treasure Isle -- and in NYC before the White Plains Road studio was established, where finally they were overdubbed and mixed. Included are the rhythm tracks of the African Jamaicans' 'Girl Of My Dreams' and Tyrone Evans' 'Dread Like Me'; also versions of 'Ballistic Affair' and The Righteous Flames' 'I Wasn't Born To Be Lonely'. KC White and the Lovejoys contribute the only vocal. The band is basically the Reckless Breed, with the funkdafied drumming of Jah Scotty -- just off the Kingston plane --- especially outstanding. As featured in a rare sleeve photograph, Bullwackies, Jah Upton and Prince Douglas work the mixing desk. Rougher yet, tougher yet.

WACKIES- AFRICAN ROOTS ACT 2 LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Another Rhythm & Sound presentation from Bullwackies' golden year of 1982, this album offers fully-worked dubwise versions of tracks voiced elsewhere by such Wackies' luminaries as Max Romeo, Barrington Spence and Junior Delahaye. Only the treatment of Horace Andy's 'Lonely Woman' -- from the original release of 'Dancehall Showcase' -- contains traces of a song. Alongside producer Lloyd Barnes aka Bullwackies himself of course, Junior Delahaye's contribution is crucial -- on keyboards, drums and drum machine, and at the mixing desk. Likewise Leroy Sibbles, on bass guitar, bringing to the session three classic Heptones Studio One rhythms: 'Fight It To The Top', 'Love Won't Come Easy' and 'Sea Of Love'. Vintage Wackies dub: all killers, no fillers!

V/A- JAH SON INVASION LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Around 1980, London-based Bullwackies fan Ed Brennan circulated amongst his friends a homemade cassette of his own favorite Wackies productions. In turn, Lloyd Barnes made his own selection from this Pirate's Choice -- adding several debut cuts, but retaining Ed's title and much of his artwork (omitting the barcode which he had snipped from a can of drink!). Like the Coxsone re-appropriation, this makes for a superlative compilation. Lloyd Barnes trumps Ed Brennan throughout, kicking off with a killer one-off rhythm from the vaults, featuring Bobby Sarkie of The Immortals, before teaming Joy Card's 'Black Girl' (originally on 12") with a previously unreleased singjay version by Barrington Spence. Other highlights include Clive Hunt's reading of Wayne Jarrett's 'Darling Your Eyes', Joe 'No Equal Rights In A Babylon' Auxumite's interpretation of 'New Sensation' (by Wackies songwriting regular Andrew McCalla), and Sugar Minott singing beautifully over an exclusive horns mix of his 'Sometime Girl' 12". From over 150 singles and 20 albums these 10 extracts are showing you the quality and range of Jah Reggae music', as the cover puts it. Another master-class from Bullwackies country.

V/A- REGGAE GOODIES VOL. 1 LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Both volumes of Reggae Goodies came out around 1977 on Bullwackies' City Line imprint (which celebrated the NY subway track ending at White Plains Road, and Wackies' headquarters). They are based on a compilation of 7" A-sides which had appeared over the previous few years also on labels like Versatile, Rawse and Senrab. The original sleeve-note of Volume 1 reflected that 'today, reggae music is reaching its peak and this album is a perfect example of the roots of its success. This is an exceptionally well put together album with various artists at their best.' No one could argue -- with spectacular contributions like Don Carlos' 'Black Harmony' killer, Wayne Jarrett's 'African Woman' (to Baba Leslie's 'Black Horns' rhythm), Joe Morgan's 'Basement Session,' and the first time out for Stranger Cole's intense 'Capture Land,' later redone by Wackies and also Half Moon affiliates TAMU. Reggae Goodies: it's more than just an album, it's an experience which can only be shared by you. Get your copy now... there'll never be another of its kind.

V/A- REGGAE GOODIES VOL. 2 LP (wackie’s, germany)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite/essential restocked… Volume 2 derives more from Wackies' Sounds Unlimited Studios in New York, and aims rather for the Lovers in the dance. Ad hoc lineups like Wanachi (with Jah Jah's Call also appearing on Creation Dub) and the Chosen Brothers -- here it may be Lloyd Barnes with Wayne Jarrett on one track, and Leroy Sibbles on another - appear alongside regulars like 'Jah Junior' Delahaye, K.C. White, and those 'three attractive young beauties' The Love Joys -- with a different mix of their version of The Abyssinians' 'Sweet Feelings' than turns up on their debut album. Reggae Goodies: it's more than just an album, it's an experience which can only be shared by you. Get your copy now... there'll never be another of its kind.

GIFT CERTIFICATES

ADDRESS

tequila sunrise records

525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

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saturday: 12:00-6:00pm/est

sunday: 12:00-6:00pm/est

NEW ARRIVALS/RESTOCKS FOR THURSDAY, MAY 20

2010-05-20T13:58:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, MAY 20

thanks for looking.

another list of solid goods for you perusal… read about em here or for optimal results, come on by the shop and check em out in person. as always, to stay on top of all the recent arrivals (as well as other odds and ends of interest), follow tequila sunrise records on facebook and/or twitter ! gotta run, hope to see you soon!

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

CAVE- PURE MOODS 12” (drag city, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Crusty - foul, upper crusty. What's poking through? Ah yes, the collective middle finger. But wait. There it is, for all to see - that middle finger is sporting the peace-iest mood ring this side of the '70s. It's a warm mood -- PURE, even. Yes, Pure Moods -- the sound of Cave, the five-fingered cave to be exact, the quintet version of the band that toured the USA and Europe in 2009. Pure Moods was recorded in semi-written, semi-improvised fashion following the annihilation of mainland Europe last fall. Afternoon sessions faded into the night and tripped into morning, songs coalescing, jams extending, beer bellies expanding. Fine-tuned, clean guitar amps grew crunchier and crunchier the longer their tubes burned, increasing tonal density accordingly as mass pushed volume. Cave throbs as an entity. They core themselves around sickeningly tight drum and bass that drive like a thinline, curvy, armored-vehicle so that the sinewy, metaphysical guitar-work can punctuate, aggressive yet deceptively seamless, through any fleshy surface -- be it human, water, or a wall of 'Hot Bricks,' the first nug on this here EP. All is surrounded by a glistening force-field of lake-misty keys and synths, like an unfurling cloak set to shroud and envelope a grungy beard or sixty. Hark! The group-chant vocals are singing -- 'Teenager,' with its comeslither refrain, cuts through the before-mentioned mist and tickles the scrote (or the cute little six-pack space, if you got tits) between the delayed echoes of guitar. Hair-raising, if nothing else; of course, we know it's probably not the only thing this track will raise.

RANGDA- FALSE FLAG LP (drag city, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*When witch-gods collide, it might sound something like this. Six Organs of Admittance...Richard Bishop...Chris Corsano. Riders of the apocalypse, it's them vs. us. After absorbing their über-holy dynamo, you'll be prepared to join up with these wraiths, making it all of us against...well, whomever's fool enough to stand in our way. To evil! Rangda's been building up behind the scenes for some time now. As label mates and members of an exclusive mutual admiration society, Sir Rick and Kid Chasny thirsted for a conflagration involving two electric guitars plus a drummer. In such an environment requiring excellent survival skills as well as composition and improvisation rhythms, who better than Chris Corsano to work the skins... On paper, this was colossal, but actually getting everyone together proved awesomely impossible, with each man in a different city sprawled across the vastness of the United States -- not to mention each man's diverse state of mind sprawled across the vastness of inner space. And so, time passed. Chuckling, the guitar men dreamed of visiting Rangda on our world, working figures on their necks in anticipation. Finally, with the desperate recklessness of the ancient witchsoul herself, they booked a live show, followed by a studio session with Seattle sound guru Scott Colburn. Beforehand, a mere ninety minutes was allotted for the three to further discuss ideas and play together for the very first time. What would happen... What do you think happened, stupid... Of course they planted a garden of lyricism seeded with several compositions and several improvisations! Placed end-to-end, the six pieces of the Rangda saga (part the first) rock from splintering onslaught to soulful meditation and back again with manifest precision -- this was a planned attack. Unceasing battery slides suddenly into ritual form with elemental ease. The fretworks of Richard Bishop and Ben Chasny split time while Corsano shapes the air around them. Each players moves as part of the whole of Rangda, and whether surging, cycling, or in pastoral, they are never less than explosive. This initial foray flies under the banner of False Flag. Yet this is only the beginning, for Rangda is alive. To ensure your future in the endless cosmos, march forward with the forces of Rangda, heart and soul, now and forever.

V/A- DEUTSCHE ELEKTRONISCHE MUSIK VOLUME 1: EXPERIMENTAL GERMAN ROCK AND ELECTRONIC MUSIK 1972-83 2LP (soul jazz, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

V/A- DEUTSCHE ELEKTRONISCHE MUSIK VOLUME 2: EXPERIMENTAL GERMAN ROCK AND ELECTRONIC MUSIK 1972-83 2LP (soul jazz, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*The objectives of German experimental rock and electronic music in the 1970s were to create a new music, 'free' from the past. A music that gave seed out of the cultural 'nothingness' that young Germans felt as a consequence of Germany's role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents' generation and their disillusionment at the reintegration of old Nazis into mainstream society. The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation's desire to rid itself of the guilt of war. Many German youth turned their back on mainstream society. From the opening of the first collective/cooperative in 1967, Commune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of 'the system'. These cooperative and communal experiences led to a number of new radical German bands including Amon Düül, Faust and Can. Many artists and musicians believed a complete rejection of everything musically that had gone before was also necessary in order to build a new identity for German culture. At this time German music meant 'schlager' music -- insipid pop music that hardly confronted the country's recent historical events. The first recordings of groups such as Kluster (later Cluster) were extreme experiments with sound; un-music, anti-melody and anti-rhythm - attempts to destroy any musical links with the past. Holger Czukay and Irmin Schmidt of Can studied music under the radical avant-garde composer Karlheinz Stockhausen and Conrad Schnitzler studied art under the conceptual artist Joseph Beuys. German rock groups were as interested in musique concrète and serial composition as they were in the psychedelia of Pink Floyd or the rock, soul and jazz music played by resident American forces. From this beginning German rock music began an evolutionary journey of experimentation. Electronic music became a pathway to notions of space and the cosmos. Conversely, the emergence of communal living led to a number of musicians setting up live/work spaces in rural areas and developing a 'pastoral' outlook, with musical ideas engaged closely with nature. And despite an aversion to the politics of American society, German rock bands were nevertheless fascinated by the emerging stateside counter-culture of psychedelic music and drug experimentation. A band such as Ash Ra Tempel even recording an album with drug guru/theoretician Timothy Leary (Seven Up, 1973). And whilst some of the bands featured here slipped by the wayside over the years, others such as Faust, Cluster, Can, Tangerine Dream are now well into their fourth decade having firmly established that which they set out to achieve -- a new German music.

SOFT ROCK AND LIGHT PSYCHEDELIC HARMONY

JEFF EUBANK- A STREET CALLED STRAIGHT LP (drag city, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Welcome to A Street Called Straight, where the sounds echo from a time so long ago...well, it was like another lifetime ago. The street on which Jeff Eubank lived was already slipping away when this album was released in 1983. Those golden-hued 'good vibes' from the 60s and 70s seemed much more finite in the early days of the 1980s, encroached upon by the creeping darkness of changing times. A Street Called Straight was a cry into the darkness -- man can live and flourish. A Street Called Straight is a beautiful slice of second-wave album-oriented rock, unfolding a series of peaceful, easy feelings, articulated with carefully crafted music and lyrics. How is it that a landlocked creature could come up with such beachy sounds, such cheerfully extraterrestrial visions? Jeff Eubank channeled the sunshine and moonlight of southern California via Kansas City, Missouri. He'd been playing music since the mid-70s and had finally gone out to L.A. and played music there before returning to lay his songs down in familiar lower-midwestern stomping grounds where studio rates were cheaper. You hear what you hear in the music. Some of the names that listeners have been so far reminded of include Fred Neil, Al Stewart, David Crosby, Kenny Rankin and a fellow traveler of the early 80s private press highway, Bobb Trimble.

JOANNA NEWSOM- HAVE ONE ON ME 3LPBOX (drag city, usa)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*shop favorite restocked… Joanna Newsom releases her first album since late 2006's Ys, making up for lost time with a disc for 2008, one for 2009 and one for today. Featuring Ryan Francesconi and Neal Morgan from Joanna's Ys Street Band, Have One On Me is an extravagantly packaged (and extravagantly nicely-priced) collection of fantastic new Joanna Newsom songs -- her most colorful record to date.

ELISA RANDAZZO- PURE MOODS LP (drag city, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Bruises & Butterflies is the debut solo album from Elisa Randazzo, a California musician, songwriter and clothing designer. Bruises & Butterflies is a personal work that stands outside the boundaries of her previous musical projects. Elisa begins the album with the line, 'That's not what I wanted,' which should give an idea of the themes in effect here. Friendship lost is the main thrust, but fortunately, friendship found is at the other end of the long night/thrust. Friendship lost comes first, darn it. Underneath the elegiac California ennui of Bruises & Butterflies runs a bloody gurgling of rejection and outrage. Drawn from the bottom of the well of Randazzo's broken marriage, Bruises & Butterflies uses a musical palette of British folk (like murder ballads, geddit?) and the mythic shadows of classic west coast rock to paint the portrait of a desecrated woman, attempting to understand her own heart. As we promised, there are glimmers of resignation and resolution for the future. And indeed, the process of making the album brought new people into Elisa's orbit. Guitarist Aaron Robinson became a songwriting partner over the course of many late night recording sessions. Additionally, Elisa met legendary 1970s British folk singer Bridget St John (a hero of hers and ours) during the time the record was being made. They became fast friends and eventually co-writers of two songs on this album. And now, maybe Elisa Randazzo can get some proper sleep. Bruises and butterflies -- two great things that you didn't know go together! Here's something else you don't know but you should -- Bruises & Butterflies, the new musical expression from Elisa Randazzo.

PUNK AND POST PUNK

V/A- THE MINIMAL WAVE TAPES VOL. 1 2LP (minimal wave/stones throw, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Minimal Wave: both a genre of underground DIY electronic music from North America and Europe in the late 1970s and 80s, and the name of the label devoted to unearthing these recordings. The Minimal Wave Tapes is the first official anthology (on CD, LP and digital) of Minimal Wave music from this label. Most of the songs were originally released on limited edition cassettes or vinyl by the artists themselves, and only a handful of people knew about them. They’ve been remastered from their analog source tapes and compiled here by Minimal Wave's Veronica Vasicka and Stones Throw's Peanut Butter Wolf. The double LP version is now exclusively available via Stones Throw and Minimal Wave.

CHIN CHIN-SOUND OF THE WESTWAY LP (mississippi/slumberland, usa)
11.98usd/7.17gbp/7.95eur/1049jpy (approx)

*In 1985, Sound of the Westway was released on Chin Chin's own Farmer Records. As a progression from their first 7", SOTW proved to be a brilliant mix of post punk and pop sensibility. The band's fierce DIY stance and girl-positive ethics have echoed down through the indie scene. Mississippi and Slumberland are excited to collaborate on this classic reissue. On vinyl only, remastered by Tim Stollenwerk and new original artwork by Alec Icky Dunn. Includes Free Download Card.

GREY AREA

GROUPER- WIDE LP (weird forest, usa)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite reissued/restocked, already out of print from the label… Wide is Grouper's second full length-album. Previously released on Free Porcupine Society and Weird Forest, this is a co-re-release between Weird Forest and Grouper's own label with new artwork by Liz Harris. Edition of 1000 copies.

INCA ORE- BRUTE NATURE VERSUS WILD MAGIC LP (weird forest, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*shop favorite restocked… Inca Ore is the solo voice of Eva, the singer of such fine bands as Alarmist and Malibu Falcon. Inca Ore travels the cosmos on fiery phoenix mattresses with the voice of a goose-quilled cloud pillow siren calling to all the constellations in the universe. Eva uses her vocal range and delay complement to create the sounds of entire sorceress covens through her lone voice. Lovely psychedelic drone mixed with narcoleptic folk. An enchantress of the highest order! Side A was previously issued as a CD-R in a small pressing of 100 copies on the Collective Jyrk label. The B-side is a brand new track consisting of one astounding, 18-minute interstellar vocal trance-out!

STARVING WEIRDOS- PATH OF LIGHTNING 2LP (weird forest, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*First off, this 2xLP set has THEE best cover I've laid my sockets on in many moons. It is soooo eye-burningly great that I'm tempted to run out and buy a van just to have the image painted on it. It's about time the art world came around to the lucrative 'ray-gun touting topless women riding giant tarantulas through darkened valleys' market. Bra-fuckin'-vo! But I'm not getting off my high horse just yet. I must say that this latest from NorCal's finest, Starving Weirdos, is one of their most swell/swollen yet to date. Four flippin' sides of confuse-adelia for both the farm-fresh kid to the well-heeled cad. Way noisier than the releases on Root Strata, Path of Lighting is chock full of mystery moves and dynamo hums, from the tripped-out textural flips on 'Into the Flatlands' flickering in and out of foci to the almost-an-environmental-statement of 'N.Y. Blues' with talk show jibber jabbing into the corrosive static as the grooves run out. The two dudes in Starving Weirdos are joined by yet another dude for two tracks and it's tough to know exactly what he's adding (besides another layer of ecstasy gush) but they're my fave sides. For sure. These two sides sound like the fine line that separates No Neck Blues Band from Sunburned Hand of the Man. The final track could/should have been in the movie Rosemary's Baby, right around the time Mia Farrow is screaming 'What have you done to his eyes!' As the kids these days say, 'Fuck you, dad!' -- no wait, 'Dude, that would rule!' Yeah, that's it. So, let recap -- you get the deluxe gatefold jacket courtesy of the always peachy Weird Forest label, twin slabs of head-spinning secret laboratory recordings and man -- that cover is making me so hot!. -- Dennis Yudt

STARVING WEIRDOS- SELF-HYPNOSIS 2LP (weird forest, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*What's going on here? Well, a couple sides of Self-Hypnosis were recorded in a concrete racquetball court (and a couple of sides weren't) which has been mysteriously transformed into the legendary Black Ark Studios and Lee Perry is going NUTS with the ol' echo effects. A tiny clatter in the background suddenly rushes up to your ear-bones, magnified into giant sheets of rubberized steel plates which bounces as high as you are. The backwards flow-motion is set on fire as the storm approaches. Various liquids are aerated while dub insects skitter about the killing floor. Little crashes, hither and thither, mostly between the buildings -- not causing much damage at all. Oh oh, those voices sound pretty serious. Time to go? Nope. These here farming combines sure are hard to start up but, boy, when they do you're in for a thrashing. Ham radio on rye. Moldy rye. Mutter all you want and loop it, why don'tcha? The other two sides are not rock and roll or hoochie-coo. The mystery is killin' me! Is that a giant wet thumb rubbing on a window? Aren't you the big man, buster! I like how the guitar gets sucked into a vortex and then keeps popping out and scaring me. It's all bone saws and throwing stars. Ducks and covers. And where is that humming noise coming from? Oh, now I get it. Awesome! Lemme play this again! -- Dennis Yudt

FOLK, BLUES AND ROOTS

ABNER JAY- FOLK SONG STYLIST LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Long awaited follow up to the True Story of Abner Jay LP. Abner Jay was a man who had a grand sweeping vision of what folk music was. In his lifetime his expression of what folk music could be encompassed some serious stylistic variations. Sometimes he was a one man band traveling troubadour playing an electric banjo, harmonica, & drums who tried to hoodwink audiences into believing that he was 150 years old & the standard bearer for authentic Americana. Sometimes he played in electric straight up R&B bands such as 'Koko Joe & the Jobhunters'. Sometimes he claimed to be the 'black Bob Dylan' strumming an acoustic guitar & singing socially conscious urban folk. On this LP we find Abner in all of these modes & more. (He also does a pop song about a submarine disaster & a beautiful gospel song). Culled from a mix of Abners' 45's & LPs spanning the period 1964-1973, including Abner's first long lost LP, which we reproduced the cover image for this LP from. We hope that this release will help to further the current wave of understanding that Abner Jay is an important artist who deserves a wider audience than he ever received during his lifetime. Comes with a self promotional pamphlet penned by Abner & a color photo of Abner. Housed in an old school tip on sleeve. We are very proud to get this incredibly hard to find material out into the world.

ABNER JAY- FOLK SONG STYLIST LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Compilation culled from Abners' self released LPs and 7"s featuring hits such as "I'm So Depressed," "Cocaine," "Vietnam," and "The Reason Young People Do Drugs." Abner Jay was a one-man band singer/songwriter deserving of a wider listening audience than he received in his day. This is the first vinyl release of his material since the 1970s. Great soulful folk and R&B music.

V/A- BEEN HERE ALL MY DAYS: SELECTIONS FROM THE GEORGE MITCHELL ARCHIVE LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Throughout the 1960s and 1970s, George Mitchell recorded extensively in the South. Mitchell concentrated mainly on local blues traditions recording some famous bluesmen and many otherwise ignored artists. The George Mitchell Collection was originally released as a series of forty-five EPs on Fat Possum, this LP contains our favorite fourteen tracks. This LP represents songs from many well known blues musicians such as Fred McDowell, Furry Lewis and Joe Calicott as well as some from criminally under represented artists like Jessie Mae Hemphill, Rosa Lee Hill and John Lee Ziegler. Comes with a short booklet of photos, discographical notes and recollections.

V/A- FIGHT ON, YOUR TIME AIN'T LONG LP (mississippi, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*shop favorite restocked… Compilation of sanctified blues recorded between 1927-1934. This is our sequel to the popular Life Is A Problem LP. Twelve songs of pure guitar-driven gospel. This slab is as melodic as it is rockin'. Features songs by Bukka White, Willie Mae Morris, Bo Weevil Jackson, Kid Prince Moore and more.

GLOBAL SOUNDS

DISCO BLAZE- JUMP BACK! LP (africa sun recordings, spain)
29.98usd/17.95gbp/19.90eur/2625jpy (approx)

*Superb funk rock rarity from Nigeria, mid-'70s, with some good electric guitar. Absolutely unknown album. Remastered, but not in pristine sound quality as the few located copies are all trashed, but much more than enjoyable.

PAX NICHOLAS AND THE NETTEY FAMILY- NA TEEF KNOW DE ROAD OF TEEF LP (daptone, usa) 16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… The first record Pax Nicholas appeared on was Lady Shakara -- an international smash hit and one of Fela's greatest. Nicholas was at the right place at the right time. In the 70s, stars like James Brown, B.B. King, Ginger Baker, Stevie Wonder and Manu Dibango came to Lagos to visit Fela's Shrine club to hear this new and incredibly heavy thing called Afrobeat. While playing and recording for Felas's Africa 70 (Nicholas appeared on all Fela's releases between 1971 and 1978), Mr. Addo-Nettey always had his own thing going on the side. He released Na Teef Know The Road of Teef in 1973 and is a heavy afro-funk. Fela reportedly said: 'Don't you ever, EVER play it again!' And so it was. Despite being a killer record, Na Teef Know The Road of Teef remained undercover for more than 30 years.

HEDZOLEH SOUNDZ- HEDZOLEH LP (soundway, uk)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Hedzoleh Soundz were one of the first and most original "Afro" bands from 1970s Ghana, playing a mix of traditional music from across the country tinged with Western rock. They were residents at the notorious Napoleon nightclub where they met South African trumpeter Hugh Masekela in late 1973. The music for Hedzoleh was recorded just months before the band met Masekela to become the backbone of (and sadly over-shadowed by) the Afro-jazz classic LP Introducing Hedzoleh Soundz. Hedzoleh (meaning "freedom") emerged at the beginning of a decade that saw great changes in the West African music scene. At that time, the sight of a band playing music at clubs in the city (as opposed to the countryside), dressed in traditional costumes was fairly radical and typified the new feeling for Afrocentric roots and culture which was gaining popularity amongst the youth of the day. The self-titled LP Hedzoleh has since vanished from public domain despite the success of their collaboration with Hugh Masekela. The original trumpet-less sound of this record hasn't had a chance to be heard for nearly 40 years... until now.

SWEET TALKS- KUSUM BEAT LP (soundway, uk)
18.98usd/11.36gbp/12.60eur/1662jpy (approx)

*Sweet Talks were undoubtedly amongst the top five biggest bands in Ghana in the 1970s, recording a string of hit albums. The Kusum Beat was originally released in 1974 and became somewhat of a household favorite with heavy emphasis on the "Afro" through its traditional rhythms and motifs, blended together into a modern mix that combined highlife, funk and Afrobeat. Like a small handful of seminal Ghanaian albums, The Kusum Beat has stood the test of time and sounds as original and unique today as it did back in 1974, thus original pressings are in high demand and can be found on record exchanges for significant prices. This was the second album from the band who were formerly known as El Dorados, later to change their name to Medican Lantcis before settling on Sweet Talks, having moved to a live residency at the legendary Talk of the Town nightclub in the port town of Tema, just outside the capital of Ghana-Accra. It is here that they established a name for themselves as one of the most exciting young bands in the country. Due to the popularity and commercial success of their first three albums -- Adam & Eve, The Kusum Beat and Spiritual Ghana -- the band began touring on a regular basis and made it as far as Los Angeles and here they went on to record what was to be their biggest-selling record, the Hollywood Highlife Party LP as well as some straight disco recordings aimed squarely at the burgeoning American market. The Kusum Beat is far from typical of their trademark sound but shows just how versatile an outfit they were -- able to turn their hands to any one of a number of styles. It's a great reminder of how open-minded, experimental and curious the music scene in Ghana was back in the first half of the 1970s.

V/A- NEXT STOP… SOWETO VOL. 2: SOUL, FUNK AND ORGAN GROOVES FROM THE TOWNSHIPS 1969-1976 2LP (strut, uk)
19.98usd/11.96gbp/13.26eur/1749jpy (approx)

*Strut continue their essential three-part excursion into the archives of South African music with the second volume of the ‘Next Stop… Soweto’ series. With international forms of music discouraged by the South African authorities during the 1960s, township jive or mbaqanga arose as innovative artists combined close harmony singing and traditional African styles with a bouncy township beat. Imported US music became strictly the domain of house parties, private record collections and underground shebeens. Despite this, a small but healthy soul scene flourished with bands like The Movers adding marabi elements into their funk and early disco sound, The Klooks and the Anchors all directly inspired by US soul and R&B and the Hammond organ of Booker T and Jimmy Smith. From ’69, a string of 3-minute blasts of energy surfaced on local labels like City Special, Soul Town, Atlantic City and Soul-Soul, often under the intimidating gaze of producer David Thekwane. Volume 2 of Next Stop… Soweto also touches on mbaqanga and jazz artists who dabbled with soul and funk fusions during the early ‘70s – the Mgababa Queens and Mahotella Queens, and revered SA jazz combo The Heshoo Beshoo Group. We also feature a rare psychedelic track from one of the only recordings made of playwright Gibson Kente’s acclaimed theatre pieces, ‘Too Late’. The Next Stop… Soweto series is the result of several years of painstaking research and vinyl archaeology in South Africa by compilers Duncan Brooker and Francis Gooding. The CD package features an extensive booklet featuring detailed notes by David Coplan, author of ‘In Township Tonight’, alongside many previously unseen archive photos.

OMAR SOULEYMAN- JAZEERA NIGHTS: FOLK & POP SOUNDS OF SYRIA CD
(sublime frequencies, usa) 16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Sublime Frequencies is honored to present Omar Souleyman's third Western collection on disc. This retrospective features live recordings spanning 15 years of Omar's tireless repertoire, and is rife with frenzied Syrian dabke (a regional folkloric dance and party music), Iraqi choubi and a host of Arabic, Kurdish and Turkish styles, among others -- an amalgamation that exemplifies the musical essence of Northeastern Syria. Culled from cassettes recorded between 1995 and 2009, this collection offers a further rare glimpse into Syrian street-level dabke folk-pop -- a phenomena seldom heard in the West, not previously deemed serious enough for export by the Syrians and rarely, if ever, included on the import agenda of worldwide academic musical committees. Over the years, Souleyman's popularity has risen steadily and the group tirelessly performs concerts throughout Syria and has accepted invitations to perform abroad in Saudi Arabia, the United Arab Emirates and Lebanon. In 2006, Sublime Frequencies partnered with Omar to release Highway To Hassake (SF 031CD), the first compilation of his works to be issued in the West. The success of this release and the video for the song "Leh Jani" helped see Souleyman and his group invited for their first Western tour in 2009 alongside label-mates Group Doueh from the Western Sahara. This successful tour quickly elevated Souleyman to the status of an international legend -- and deservedly so. This release coincides with the beginning of Omar's 2010 international tour in May which will take him to the UK, the European mainland, and hopefully the U.S. and Canada. CD features a full-color 8-page booklet with great photos, a general overview of the lyrics translated into English and liner notes by compiler Mark Gergis.

OMAR SOULEYMAN- HIGHWAY TO HASSAKE: FOLK & POP SOUNDS OF SYRIA CD
(sublime frequencies, usa) 16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite repressed/restocked... Omar Souleyman is a Syrian musical legend. Since 1994, he and his musicians have emerged as a staple of folk-pop throughout Syria, but until now they have remained little known outside of the country. To date, they have issued more than five-hundred studio and live-recorded cassette albums which are easily spotted in the shops of any Syrian city. Born in rural northeastern Syria, he began his musical career in 1994 with a small group of local collaborators that remain with him today. The myriad musical traditions of the region are evident in their music. Here, classical Arabic mawal-style vocalization gives way to high-octane Syrian dabke (the regional folkloric dance and party music), Iraqi choubi and a host of Arabic, Kurdish and Turkish styles, among others. This amalgamation is truly the sound of Syria. The music often has an overdriven sound consisting of phase-shifted Arabic keyboard solos and frantic rhythms. At breakneck speeds, these shrill Syrian electronics play out like forbidden Morse-code, but the moods swing from coarse and urgent to dirgy and contemplative in the rugged anthems that comprise Souleyman's repertoire. Oud, reeds, baglama saz, accompanying vocals and percussion fill out the sound from track to track. Mahmoud Harbi is a long-time collaborator and the man responsible for much of the poetry sung by Souleyman. Together, they commonly perform the "Ataba," a traditional form of folk poetry used in Dabke. On stage, Harbi chain smokes cigarettes while standing shoulder to shoulder with Souleyman, periodically leaning over to whisper the material into his ear. Acting as a conduit, Souleyman struts into the audience with urgency, vocalizing the prose in song before returning for the next verse. Souleyman's first hit in Syria was Jani (1996) which gained cassette-kiosk infamy and brought him recognition throughout the country. Sublime Frequencies is honored to present the Western debut of Omar Souleyman with this retrospective disc of studio and live recordings spanning 12 years of his career, culled from cassettes recorded between 1994 and 2006. This collection offers a rare glimpse into Syrian street-level folk-pop and Dabke -- a phenomena seldom heard in the West, not previously deemed serious enough for export by the Syrians and rarely, if ever, included on the import agenda of worldwide academic musical committees.

V/A- ECSTATIC MUSIC OF THE JEMAA EL FNA LP (sublime frequencies, usa)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*For centuries, the Jemaa El Fna (Rendezvous of the Dead) has remained the stage for one of the most spectacular social forums on the planet. By day, this central square in the city of Marrakesh, one of Morocco's great imperial cities, fosters a kaleidoscope of entertainment for its local inhabitants; storytellers, acrobats, magicians and snake charmers all create intriguing displays of bewitching spectacle. As the sun sets, the evening grows frantic with the pulse of the crowd; it is then that the night musicians set up. Free from the restrictions and expectations of light entertainment for a tourist crowd, these musicians manifest ecstatic performances that animate the audience and players alike. The groups represented on this album; Troupe Majidi, Amal Saha, and Mustapha Mahjoub, are working and carrying the torch of their musical heroes nightly in the square. These songs come from the repertoire of Morocco's greatest musical exports: Nass El Ghiwane, Lemchaheb, Jil Jilala, Larssad, and many others from the Chaabi (Moroccan popular music) canon and are given a raw, emotional and fiery interpretation. Instruments are powered by car batteries and blown out through megaphone speakers. These recordings represent a rare opportunity to hear this music at such close proximity taking in all the power and passion of the performances. The raw fidelity captures an unflinching immersion of what is simply some of the greatest street music on earth. Recorded by Hisham Mayet in 2005, a few of these performances were featured in his film Musical Brotherhoods From The Trans-Saharan Highway (SF 041DVD). This collection also contains tracks not present in the film for a more potent snapshot of the ecstatic Jemaa El Fna. Limited edition LP comes in a beautiful full-color gatefold jacket with photos of the musicians and liner notes by Hisham Mayet.

V/A- AFRICAN PEARLS: SÉNÉGAL 70 MUSICAL EFFERVESCENCE 2LP
(syllart productions/discgraph, france)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*Syllart presents a deluxe gatefold 2LP edition of the mighty African Pearls collection dedicated to the funky sounds of '70s Sénégal. More than any other country in West Africa, Sénégal was strongly influenced by Cuban music largely played by the ORTS (Radio Sénégal). Widely circulated, this Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal as well as the monikers "stars" and "étoiles" in the history of modern Senegalese music with bands such as Youssou N'Dour's Super Etoile, Star Number One, etc. James Brown's 1975 Dakar visit set the country on fire, and opened a new era in music. As a result, "Kelen ati leen," a Wolof folk tale, shows the Orchestra Baobab's mighty funk vision driven by Cissoko's horn arrangements. Released on the wonderful Visage Du Sénégal, part of a series of 5 LPs released in 1975 thru Buur Records, it epitomizes a perfect Senegalese groove and stands as Dakar's ultimate funk statement. Produced by Ibrahima Sylla. Limited vinyl pressing of 1,000 copies worldwide. Other artists include: Xalam, Super Diamono de Dakar, Guelawar, Ifang Bondi, and Etoile 2000.

V/A- AFRICAN PEARLS: GUINÉE 70 THE DISCOTHEQUE YEARS 2LP
(syllart productions/discgraph, france)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*Syllart presents a gatefold 2LP edition of the mighty African Pearls collection dedicated to the funky sounds of '70s Guinea, when '70s groove turned electric and took West African coast clubs by storm. By the late 1960s to the mid-1970s, Guinea's music came to the forefront of a global Pan-African culture, even being called "The lighthouse of African culture." Genuine mandingo musical explosion, the sound of 1970s Guinea, with its stunning horns, spellbinding vocals, mesmerizing guitars and formidable rhythms has yet to be duplicated in Africa or anywhere else in the world. Limited vinyl pressing of 1,000 copies worldwide. Artists include: 22 Band Kankan, Horoya Band National, Kaloum Star, Pivi et Les Balladins, Super Boiro Band, Bembeya Jazz National, 22 Band Kankan, Keletigui et ses Tambourinis, Camayenne Sofa, Sory Kandia Kouyate, Super Boiro Band, Camayenne Sofa, and "22 Novembre" Band.

REGGAE AND DANCEHALL

DADAWAH- PEACE AND LOVE LP (dug out, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*essential/must have reissued… Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in old-school, hand-assembled sleeves.

DISCO

V/A- DIMITRI FROM PARIS: GET DOWN WITH THE PHILLY SOUND VOL. 1 2X12”
(bbe, uk) 34.98usd/20.94gbp/23.22eur/3063jpy (approx)

V/A- DIMITRI FROM PARIS: GET DOWN WITH THE PHILLY SOUND VOL. 2 2X12”
(bbe, uk) 34.98usd/20.94gbp/23.22eur/3063jpy (approx)

V/A- DIMITRI FROM PARIS: GET DOWN WITH THE PHILLY SOUND VOL. 3 2X12”
(bbe, uk) 34.98usd/20.94gbp/23.22eur/3063jpy (approx)

*first three double vinyl packs, in a series of four, culled from bbe’s 5th and arguably most exciting compilation with the French dj and ambassador of disco, Dimitri from Paris. This compilation focuses on Dimitri’s essential disco era tracks - made in Philadelphia, that feature the core of the rhythm section that created and defined the sound of the genre. For this compilation Dimitri has exclusively reworked 5 tracks from the original multitrack tapes of Gamble and Huff with a further 4 being edited from the original 2 track stereo masters. It should be noted that nearly all of the disco output from Philadelphia between 1973-1980 featured the work of the same studio musicians known as –The Family, MFSB (Mother, Father, Sister, Brother), The Salsoul Orchestra, Baker - Harris -Young Productions, The John Davis Monster Orchestra or the Montana Sextet depending on who the recording was for. The classic line up of musicians included Karl Chambers and Earl Young (Founder of The Trammps and creator of the disco drum pattern which laid the template for every dance record since) on drums; Norman Harris, Roland Chambers, Bobby Eli (Original MFSB member), and TJ Tindall on guitar; Winnie Wilford and Ronnie Baker on bass; Vince Montana (vibes/arranger and founder of the Salsoul Orchestra) and Larry Washington on percussion and Leon Huff, Thom Bell and Ron Kersey on keyboards. Don Renaldo taking care of strings and horns featuring soloist John Bonnie Rocco Bene on Trumpet. Last but not least the remixers and Tom Moulton (Pioneer of the Disco Mix, the 12 inch vinyl format, the break down sections of records and supplier of missing masters for this compilation) who influenced the popularity of songs with his legendary mixes. For Salsoul Walter Gibbons was the owners choice. Honorable mentions go to Larry Levan and Shep Pettibone for their contributions in this field. These guys were the bridge between the labels and the club dancers and understood how to make a record work in a club. Undisputedly, as producer’s Thom Bell and Gamble and Huff's Philadelphia soul sound evolved from the simpler arrangements of the late 1960s into a style featuring lush strings, thumping basslines and sliding hi-hat rhythms; Philadelphia gave birth to and defined the brand new Disco genre. The anthemic “The Love I Lost” is recognised as the first commercial disco record and was recorded at the legendary Sigma Sound Studios, Philadelphia in 1973. Recording engineer, Joe Tarsia founded Sigma Sound in 1968 where virtually of all the disco recordings on Gamble and Huff’s Philadelphia International, Salsoul, Philly World, Gold Mind, Atlantic were made, thereby maintaining the unique sound of Philadelphia. Located at 212 N. 12th Street in Philadelphia, it was the second studio in the USA to offer 24-track recording and the first in the country to use console automation. David Bowie recorded his Young Americans album at this legendary studio as was Dusty Springfields - A Brand New Me, while Elton John's 1977 Philadelphia sessions were in such demand recently that they provided a hit single ('Are You Ready For Love') and CD re-issue 3 decades after the recordings were first made. By 1975, Philadelphia International and the Philadelphia soul and disco genre’s it helped define had largely eclipsed Motown and the Motown Sound in popularity and Gamble and Huff were the premiere producers of soul with nearly 200 gold and platinum records to their credit. Salsoul capitalized on the success of the sound by employing the same musicians whilst focusing on club music predominantly. In a recent Blues and Soul interview Kenny Gamble admits to passing over Prince’s demo. Other acts for whom Philly collaborations didn’t happen were Miles Davis, Bob Marley, Barry White and Earth Wind and Fire. Time simply didn’t allow these to happen. Notable acts rushed to Philadelphia to capture the sound. Ex Motown cohorts The Jacksons and Eddie Kendricks utilized the above classic line of musicians up to embrace the new sound and extend their careers. Simultaneously, Salsoul Orchestra and the John Davis Orchestra were essentially basically a moniker core rhythm section of MFSB and recorded several disco hits outside of the PIR umbrella. Now for the first time ever Gamble and Huff have given a label access to the multi track tapes of some Philly International platinum selling classics such as The Love I Lost, Bad Luck featuring the vocals of the late great Teddy Pendergrass, the first black male to release 5 consecutive platinum albums in the United States.

RHYTHM & SOUND FEAT. PAUL ST. HILAIRE- MUSIC A FE RULE 12”
(rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… After four 10" singles on Burial Mix, here is the first 12" on Rhythm & Sound's own imprint. More exceedingly deep dub excursions with the Basic Channel affiliation, with Tikiman's echo-scattered vocals on one side, an instrumental version on the other.

RHYTHM & SOUND/CHOSEN BROTHERS- MANGO WALK/MANGO DRIVE 12”
(rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… This very special release is a collaboration with the Wackies label. Rhythm & Sound -- this Berlin-based techno dub project -- offers us this brilliant 3 track release. The A-side features an unreleased track, 'Mango Walk' from 1979 by the legendary Chosen Brothers backed by Bullwackie's Allstars and a dub version. The B-side features a reworked version by Rhythm & Sound.

RHYTHM & SOUND- ROLL OFF/B 12” (rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… As a pretaster for a full length CD, here is a new Rhythm & Sound release. Famous deep dub techno from Berlin. This 12" features two more experimental instrumentals.

RHYTHM & SOUND- SMILE 12” (rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… Here we have three new tracks by the well known Rhythm & Sound. One side being 'Smile' with vocal appearance by Savage, a new artist with a Caribbean background, in a vein similar to Paul St. Hilaire's performance on the first Rhythm & Sound ('Music A Fe Rule'). The other side contains the two new tracks: 'Distance' and 'Range.' These tracks are more in a free, empty and sound-oriented vein similar to their earlier work on Basic Channel.

RHYTHM & SOUND- CARRIER 12” (rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… Here we have three tracks by well-known Rhythm & Sound. No vocals this time -- these tracks are more in a free, empty and sound oriented vein similar to their earlier work on Basic Channel.

RHYTHM & SOUND- TRACE 12” (rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… Berlin's Basic Channel Crew has been most influential in the field of minimal techno soundscapes. With the sub-labels Maurizio, Main Street Records, Burial Mix and Rhythm & Sound, Mark Ernestus and Moritz Von Oswald created platforms for different aspects of their own productions, and with Chain Reaction for productions from their musical environment. The present 12" is a teaser for the Rhythm & Sound compilation CD which contains most of the material released on the 12" singles on the Rhythm & Sound label so far.

RHYTHM & SOUND- AGROUND 12” (rhythm and sound, germany) 13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite repressed/restocked… The seventh 12" single on the Rhythm & Sound label. Within the output range of Rhythm & Sound's production, this label is the platform for more free or abstract material, with the Burial Mix label focusing on vocal tunes and the respective versions/dubs. With the heavyweight 'Aground' and the densely atmospheric 'Aerial' (with Tikiman's superb distant background vocals) this is an excellent start for a new series.

RHYTHM & SOUND- RHYTHM & SOUND CD (rhythm and sound, germany) 16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite repressed/restocked… Berlin's Basic Channel Crew has been most influential in the field of minimal Techno-Soundscapes. With the sub-labels Maurizio, Main Street Records, Burial Mix and Rhythm & Sound Mark Ernestus und Moritz Von Oswald created platforms for different aspects of their own productions, and with Chain Reaction for productions from their musical environment. The present CD contains most of the material released on the Rhythm & Sound label -- only on vinyl 12"/10" so far -- since it's launch in 1998. The material is remastered and partially edited for CD format, to create a continuous flow through the wide spectrum ranging from minimal, abstract electronics to driving uptempo grooves with a stronger influence of classic Jamaican dub elements in the best Basic Channel tradition, including highlights like 'Smile', the only vocal track (featuring Savage), 'Mango Drive' a re-shape of the Chosen Brothers' 1979 unreleased Reggae tune 'Mango Walk', or 'No Partial', inspired by the essential, though never generally released 'Higher Fieldmarshall Dub' by the Wailers Band. Packaged in a stunning 'nature' digipack again.

V/A- HOUSE OF TRAX VOL. 4 12” (rush hour, netherlands) 14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Rush Hour presents the fourth House Of Trax 12". Blackman originally released "Beat That Bitch With A Bat" in 1993, a song which was popularized by Johnny Dangerous. The original 12" is available now for the first time in 17 years. There's also the vocal and instrumental version of Maurice Joshua's 1988 track (with Hot Hula Hands) "I Got A Big Dick," the A-side of his more known "This Is Acid." These are rare tracks that will still go down a storm on the dancefloor.

V/A- HOUSE OF TRAX VOL. 3 12” (rush hour, netherlands) 14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*This is the third release in Rush Hour's House Of Trax series, and it mostly features the magic of Jamie Principle. However, this EP opens with a sublime, deep vocal track originally released on Trax sub-label Saber in 1991 by Ace & The Sandman (who are also responsible for the Virgo Four tracks).

RON HARDY- SENSATION 12” (rush hour, netherlands)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*shop favorite restocked… This landmark house record was originally released in 1985, and is one of the earlier Trax releases. Produced by Ron Hardy -- one of the most important DJs at the time and instrumental in shaping the Chicago house sound. Real body music that remains one of the hardest to get and most in-demand Trax releases. Originals go for over $100, and even the late-'90s repress is expensive, let alone the original limited-edition white vinyl.

DJ DUKE- SLOW TO SPEAK CORE-1995: HEARD/TRENT 12” (slow to speak, usa)
10.98usd/6.57gbp/7.29eur/961jpy (approx)

*DJ Duke, unsung hero of deep house ingenuity, receives a deserved and absolutely essential reissue from NYC’s slow to speak imprint. One of the lost masters of the abundant deep house community of the early 1990’s, Duke epitomized the queen-infused, deeply fierce insular dialogue of New York’s most outcaste underground. Part of his ode to deep house staples of yesteryear lost, “Heard” & “Trent” live up to their namesake, instrumental electronic masterpieces that disregard the concerns of conventional standardization while retaining the indisputable efficacy of NY’s exploratory antiestablishment. Emotive, depthtful and totally accessible, “Core – 1995” is the first re-visitation of forward-looking genius that will continue to epitomize slow to speak’s retroactive genius, speaking more to the potential inventiveness of dance music than it’s former vivacity.

PEARL JAM- BLACK/INDIFFERENCE/CRAZY MARY 12” (slow to speak, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*By far the most popular and successful rock group of the 1990’s, Pearl Jam is synonymous with the “grunge” movement, an army of west coast rockers who rose to fame in the early years during that prodigious decade. Really a popularized and commercialized outgrowth of punk, these bands—with Pearl Jam at the helm of the proverbial ship of celebrity—blasted through the collective pop consciousness of the world with a lyrical sophistication, confessional honesty and angst-ridden disgust with post-modern indifference that left the major labels in shock, accustomed as they were to the nihilistic hedonism of 80’s machismo and uncertain how to treat these powerful newcomers. As time passes, the entire cannon of alternative has been effectively assimilated into the gospel of “classic rock” and given the full legitimacy of a divinized subgenre, no longer a threatening or radical departure from the norm but an accepted part of our pop-culture’s history. In fact, many view this era in music as a stain on the uncompromising militancy of the punk aesthetic, and identify Pearl Jam as the champion of the sell-out and their chief cultural enemy. Listening past the dogma, an attentive study of Pearl Jam’s legacy leaves no doubt that they continue to stand as one of the greatest rock outfits of the decade, a breathtaking feat of major label music weighted in a total artistic transparency and the emotionally-charged eloquence of Eddie Vedder’s brilliant mind and cathartic performance. Militants of the real in their own right, Pearl Jam were determined to bring the artistic sincerity of their roots into the mainstream and absolutely refused to compromise their basic autonomy in the creation of song and sound. After the systematic denunciations of “alternative” fade away and the true substance of that important era is visible, Pearl Jam cannot be denied, written off or ignored; to the contrary, their music continues to sound more and more remarkable for it’s time or ours, a project of concentrated and intense creative output that saw the band explode over three years of furious activity, a legacy that continues to this day. During and since this whirlwind of musical creation and lyrical depth, Vedder and his team have left dozens of masterworks in their continuing wake, songs of thematic strength, social perceptivity and searing emotional exploration that remain objectively undeniable staples of modern pop rock music.

ALICE B TOKLAS- DIMENSION 128 : VUH 12” (slow to speak, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Divining with the whisper of impetuous fantasy and earthly pleasure, our ears are once more turned over to the persisting demands of pure sound. An unraveling, winding journey through the castings shadows of perturbing gothic walls and disorienting multi-textural synthetics, 'Vuh' is a hymn to the religious devotion of stripped down, concentrated and ecstatic esotericism at the outer reaches of the ambient canon. Horrifying and divine in the same breath, this masterpiece recalls the titanic feats of gods long since departed from this world, resurrected and rechanneled through the horizontal perception of mortal souls blessed with the touch of the netherworld. Entrancing, dazing and totally mesmerizing, 'Vuh' reminds us that the eternal can be birthed from the temporal effort of human will, a timeless specimen of infinite musical sublimity and celestial transcendence. Chosen by Paul Nickerson for the 1979 Foundation for the Black Arts. 100 Pressed. This release is in direct conflict with the Unlawful Societies Act of 1799.

V/A- SLOW TO SPEAK/CORE: 1995A CDR (slow to speak, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Ages before Paul Nickerson and Francis Englehardt entered the phase of their life’s project involving the creation of Dope Jams and slow.to.speak, they were just like any two kids growing up in the suburban shadows of a formidable U.S. city: in their early teens, they became fanatically obsessed with underground house music. Attending early Boston deep house parties like “The Loft” and “The Paradise,” the two teenagers quickly immersed themselves in the then vibrant dance music community. This mixtape, recorded in 1995, is an aural testament to the early sounds of underground club music that shaped the unique and uncompromising vision that would eventually become slow.to.speak. The records on this mixtape are not experimental, difficult to understand, or even exceptionally complex or intelligent. What they are is obvious and DOPE, a sign of the times before house music was self-obsessed and principally insincere. The mixing is seamless, though certainly less concerned with technical precision than with the conveying of the artists’ authentic excitement with what they were doing, what they were involved in and what they were striving for. What this mixtape bears witness to is the youthful exuberance of individuals truly living their music in an atmosphere of genuine inspiration, raw energy and unabashed honesty, unconcerned with the past or the future, indeed an immersion solely in the present happenings of their environment.

V/A- SLOW TO SPEAK/CORE: 1995B CDR (slow to speak, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Before MP3’s, digital, I-Tunes and the dreaded convenience of the internet, there was the direct & tangible excitement of the mix-tape universe, an open forum in which aspiring and established programmers, niche enthusiasts and curious explorers of the vast web of professional and not-so-pro disc jockeys interacted through the 90 minute medium of the 2-sided tape cassette. It was here that reputations were made & dismantled, and dreams of grandeur were realized in the small-time fame of inner-circle reputation. Of course, the mixes themselves had to do more than simply verify “Yes, I can put 2 records together…I am a DJ”; they had to actually demonstrate an ability to effectively rock a party, compare, contrast & assemble tracks with an intuitive programming wit that only the worthy possessed. This second installment of the retrospective “CORE” mix series, presented by slow to speak’s Paul Nickerson & Francis Englehardt, continues the loyal chronicling of the not-so-distant past of 1990’s classic house euphoria. A demonstration first and foremost in party-rocking mastery, “CORE -1995 (b)” flies with full-on cockiness & show-off confidence, yielding a maximum anthemic force in a time when soulful dance music was beginning to come into it’s own, having weathered the difficult years of inception and only then settling in to cultural solidification. Another authentic & sincere example of classic house music mixed with the energetic virtuosity & quick-fire instinct of youths fully enraptured with newfound creative possibilities of their adored medium.

V/A- SLOW TO SPEAK/CORE: 1996 CDR (slow to speak, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*Continuing to document the glorious past of house music with their popular “Core” mixtape/mix-Cd series, slow to speak’s Paul Nickerson & Francis Englehardt are deeply familiar with remaining in the present when it comes to collecting & DJ’ing dance music. As teenagers throughout the promised years of the early-to-mid 1990’s, the two spent most of their time scouring the then vast universe of Boston vinyl establishments in search of the eternal victory of any self-respecting DJ: the discovery of that special record that, unbeknownst to the rest of the world, would become the secret weapon of an entire arsenal of DJ sets, radio shows, mixtapes in the near future to come. This was the ultimate sign of supremacy: not just knowing, but successfully acquiring and subsequently hoarding those gems of special obscurity that had slipped through the hands and attention spans of the competitors in the tightly nit DJ communities scattered across the Northern Hemisphere. Many of the phenomenal tracks on this impressive “Core – 1996” original outing are rooted in the outer limits of dance music obscurity, where few DJ’s dared to venture, the fertile ground of so many crucial and vital discoveries. Records such as CJ Mackintosh’s masterful dub of United Black Men, Nathaniel X Project “Get Up,” Deepsoul’s “The Rhythms”—these were the most exciting elements of these formative years in mixtape experimentation and execution. Of course, the hits were just as vital—many would say more—as these rare and unnoticed masterpieces, standards comprising the roots of any credible and successful DJ set or mix. This was still a time when droves of youths, mostly from the urban epicenters of America, Europe, South Africa and beyond flocked to their club of choosing to hear the records that had, more or less, gained the status of “anthem” —jams that had to find their way into the line-up lest the night descend into a rather boring exercise in obscure track one-upping. A simple gander of the diverse track-listing of this latest “Core” installment will direct the eyes to indisputable anthems such as River Oceans timeless “Love & Hapiness (Yemaya y Ochún), Joe T. Vannelli’s “Play With The Voice” or Shawn Christopher’s U.K. hit “Make My Love” —necessary requirements of any self-respecting deep house mixtape during that special time. Still, part of that very real, almost physically tangible excitement of that time were the sweet treasures of the victorious hunt, precious stones to adorn the crown of deep house supremacy by those steadfast warriors of the grand pursuit. “Core – 1996” captures this impassioned mixture of established underground hits & tracks whose secret have been guarded to this very day. The excitement and enthusiasm surrounding the latter contributed to a lot of the raw energy that fueled the fledging underground dance scenes of the 1990’s, the same excitement that continues to push our gaze backwards from time to time to marvel & draw strength from those formative years.

GIFT CERTIFICATES

ADDRESS

tequila sunrise records

525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

Wednesday: 12:00-6:00pm/est

thursday: 12:00-6:00pm/est

friday: 12:00-6:00pm/est

saturday: 12:00-6:00pm/est

sunday: 12:00-6:00pm/est

NEW ARRIVALS/RESTOCKS FOR THURSDAY, MAY 6

2010-05-06T09:45:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, MAY 6

thanks for looking.

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

BOBBY BEAUSOLEIL- THE LUCIFER RISING SUITE 4LP BOX (ajna offensive, usa)
54.98usd/32.91gbp/36.49eur/4815jpy (approx)

*2010 repress of this shop favorite in stock again… Now, for the first time, all of the music composed for the soundtrack project has been compiled into a single public release. The Lucifer Rising Suite begins with the 1967 version of the soundtrack and continues through a logical sequence of the recordings made in the years spanning 1976-79. With respect to the latter, the original master tapes were mined for music that had not been heard by anyone in nearly three decades. The newly unearthed recordings were then restored, cleaned up and combined with those previously released to make the anthology as complete as possible. The compositions that comprise the Suite are sequenced in an order that tells a story, after a fashion. It is a story that may be impossible to tell in a strictly literary manner, one that -- like a mirror's reflection into another -- is both personal and allegorical. A complete anthology of the recordings made for the Lucifer Rising motion picture soundtrack by Bobby Beausoleil with The Freedom Orchestra and The Magick Powerhouse Of Oz. This fully authorized and definitive release will include: - Remastered recordings spanning 11 years, from the '67 recording to the Tracy Prison recordings of '78. - 4 full-length LPs worth of Lucifer Rising material with half being never-before-heard sessions personally selected by Bobby BeauSoleil. - 9 new pieces of art from Bobby: 8 record sleeve panels and one 2' x 3' poster. - 2 posters: one by Bobby BeauSoleil and one by Dennis Dread. - A much-extended version of the 'Fallen Angel Blues' piece by Bobby that originally appeared in the Kenneth Anger DVD set. - 'Hymns to the Solar Temple' -- impressions on a visit to Bobby at the Oregon Correctional Facility in Pendleton, Oregon by Dennis Dread. - The Saga of a Soundtrack by Michael Moynihan. - Art from Dennis Dread for the back of the LP box, also to be included as a 2' x 2' poster. - Art from Dennis Dread for the front lid of the box which will provide a window into the works of Bobby's to be found within. Remastered by Robert Ferbrache, well known for his work with Blood Axis, 16 Horsepower and others. All art has been created specifically for this release.

DEMON FUZZ- AFREAKA! LP (janus, usa)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Reissue of an impossibly rare record that fetches huge sums. Released in 1971, the music defies description; there's Afro-beat, funk, psych, jazz rock, fuzz guitar, the works, in long 9-minute tracks like 'Past, Present & Future' & 'Mercy'.

FAR EAST FAMILY BAND- NIPPONJIN LP (phoenix, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Regarded by many as the first Japanese progressive rock group, the Far East Family Band featured the keyboardist and future new age composer, Kitaro. A keyboard-dominated space rock band, the Far East Family Band played extended compositions that brought comparisons to Tangerine Dream and early Pink Floyd. Nipponjin (1975), the band's second album under their new name (after their Far Out moniker), featured re-recorded material from the previous The Cave Down To Earth (1974) as well as Nihonjin and was produced by Tangerine Dream's Klaus Schulze. One of Japan's earliest prog bands, Far East Family Band became hugely popular in Japan and also achieved considerable attention in Europe. Digitally remastered, numbered limited edition of 1,000 copies only.

LOVE LIVE LIFE + ONE- LOVE WILL MAKE A BETTER YOU LP (phoenix, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Phoenix Records releases a fully-remastered edition of the 1971 sole album by Love Live Life + One. There were several progressive psychedelic groups in Japan in the early '70s including the short-lived Love Live Life + One. The band played a few live gigs and released this lone album before disbanding. The group consisted of 9 musicians and the "plus one" seems to refer to vocalist Akira Fuse who had been a pop vocalist since the mid-'60s, appearing on albums since 1967. Most of the musicians were obscure except for keyboard player Hiro Yanagida, who was a member of the highly-acclaimed Foodbrain and later Strawberry Path, whose album When The Raven Has Come To The Earth was released the same year as Love Will Make A Better You, and guitarist Kimio Mizutani who was in the band People that released the massively rare Ceremony -- Buddha Meet Rock. Love Live Life + One's only record is a mix of blues-based psychedelia that pushes into progressive and even avant-garde realms at times, while the skronky sax-playing even recalls the edgier end of the jazz spectrum. An original, innovative and extremely rare piece of Japanese psychedelia. Limited edition pressed on 180 gram vinyl and housed in a gatefold sleeve with the original artwork and the original illustrated LP lyric sheet.

PEOPLE- CEREMONY: BUDDHA MEET ROCK LP (phoenix, uk)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… this is People's sole album, the legendary Ceremony -- Buddha Meet Rock, originally released in 1971 in Japan. Nobody's sure if the musicians on this recording ever performed as a group or whether Ceremony was simply a studio super-project. Certainly, guitarist Kimio Mizutani had already enjoyed a certain amount of critical exposure following stints with Love Live Life + One and Masahiko Satoh's Sound Brakers, and it is Satoh's jazzy fuzz guitar licks that help to lift this album to a higher level. Unfortunately, this was the ensemble's only output, but this conceptual album is an absolute classic of hypnotic, psychedelic prog rock.

FOLK, BLUES AND ROOTS

MICHAEL HURLEY- HI FI SNOCK UPTOWN LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Reissue of Hurley's 3rd LP. Originally recorded in 1972, this record finds Hurley exploring the full range of his stylistic canon and features some of his most loved songs such as 'Water Train,' 'The Twilight Zone,' 'Eyes, Eyes' and 'Blue Driver.' Michael Hurley is one of our favourite songwriters of all time and we are very proud to present this first ever vinyl reissue of Hi-Fi Snock. Remastered from the original tapes.

MICHAEL HURLEY- ARMCHAIR BOOGIE LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Hurley is a much respected singer songwriter (former member of the Holy Modal Rounders), & it is an honor for us to put this out. Features the following songs: 'Werewolf' (a beautiful haunting song later covered by Cat Power), 'Grand Canyon Line,' 'English Nobleman,' 'Be Kind To Me,' 'Troubled Waters,' 'Red Ravager's Reel,' 'Sweedeedee' (also covered by Cat Power), 'Open Up,' 'Jocko's Lament,' 'Light Green Fellow,' 'Get The Best Of Me,' 'Biscuit Roller,' 'When The Swallows Come Back To Capistrano,' & 'Penguins' (a beautiful dirge played by trumpets & guitars). New back cover & label designed by Michael himself.

MICHAEL HURLEY- PARSNIP SNIPS LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Originally released in 1997 in Germany in a press size of 500. These original copies were seized by the government shortly after the records release. Only 150 or so were sold before the seizing, but since copies have leaked out of whatever dank German bureaucratic basement they were relegated to. Still, a very hard record to find for years, now back in print. Our current reissue was remastered from the original tapes & has superior sound quality to the original. Culled from Michaels unreleased output between his 'First songs' Lp from 1964 & 'Armchair Boogie' in 1972. All tracks feature just Michael & guitar. Absolutely beautiful folk music by the singular Snock - in our opinion, one of the greatest singer/songwriters of all time.

RANGE RATS- RANGE RATS LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Recorded in 1986 & completely unreleased until now - this is Fred & Toody Cole's (Weeds, Lollipop Shoppe, Zipper, Torpedoes, Rats, Western Front, Desperate Edge, Dead Moon, Pierced Arrows, & so on) great lost country LP! All original compositions...some sad lilting ballads & some punk as hell. Two songs feature Fred & Toddy playing with 'Rollie', a janky Roland drum machine that didn't keep a consistent meter very well. The rest of the songs were recorded with a lean mean band. We are very proud to bring this LP into the world for the first time - another facet of the genius of Fred & Toody Cole & low-fi as can be. Housed in an oldschool tip-on sleeve.

GLOBAL SOUNDS

ANIBAL VELASQUEZ Y SU CONJUNTO- MAMBO LOCO LP (analog africa, germany)
22.98usd/13.76gbp/15.25eur/2012jpy (approx)

*Analog Africa moves its focus to another continent for release number 7: Mambo Loco is a compilation of tracks by Anibal Velasquez, the legendary accordionist from Barranquilla in Colombia. In fact, when not crate-digging in Africa, Analog Africa founder Samy Ben Redjeb can often be found in Colombia. Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. Hailed by its locals as Colombia's "Puerto de Oro" (Golden Gate), Barranquilla has served as a gateway for "Caribbean Tropical Sounds" for almost a century. Home to the country's biggest cultural celebration, El Carnaval, and the birthplace of Colombia's radio and recording industry, Barranquilla has always been a city deeply rooted in musical traditions, and nobody embodies Barranquilla's rich musical heritage more than Anibal Velasquez. Known affectionately by his fans as "El Mago" (the Magician), Anibal has been one of the most prolific musicians of Colombia's Musica Tropical movement. Anibal was born into a musical family in Barranquilla in 1936. His father was an accomplished musician but his biggest influence was his older brother Juan who first introduced him to the secrets of the accordion. One of the turning points was a chance encounter with Robertico Roman, a musician from Cartagena. "It was with Robertico Roman that I formed my first band called Los Vallenatos de Magdalena. I made my first recording with that band in 1952. Four songs were recorded including a track called 'La Gallina,' which became a huge hit and really spread the costal sound toward the interior of the country." Unfortunately soon after, in 1955, band-mate Robertico died and Los Vallenatos de Magdalena had to disband. Without a band, Anibal was forced to take a job as a session musician for Barranquilla-based label Disco Eva working for a group called El Conjunto Colomboy. He remained with Disco Eva until the end of the 1950s, working closely with the great Costeno master Lucho Campillo. Then in 1960, Anibal formed a new group together with his elder brother Juan, a gifted musician in his own right, and his younger brother Jose who would soon become his right hand man, enabling Anibal to add a new dimension to his playing style. Jose himself began experimenting by incorporating new instruments and re-inventing old rhythms. He would break the rules and replaced the traditional bongos used in Cuban guaracha and rumba with a traditional Colombian drum called "La Caja" which he modified by adding "radiografias medicas" (x-ray film) over the drum. This -- combined with Anibal's powerful accordion -- was to become a sensation, generating a much harder and drier sound than the traditional leather skin drums. Anibal's new Guaracha style was infectious, fast and furious, often leading his crowds into a state of frenzy. The interest for Anibal's new innovative sound started growing and recording offers poured in. Anibal began to have an impressive amount of followers, drawing huge crowds wherever he went. By the mid-1960s, music in La Costa began to change drastically. With the onset of the hippie movement in the United States came a craving for marijuana, and Colombia's Caribbean Coast had become a main trafficking hub. A new economy of drugs had emerged and with it a musical style called Vallenato rose to prominence. Its distinct accordion sound and bluesy appeal made it a favorite among drug lords and mafiosos alike, becoming the soundtrack for their feverish life-styles. By the 1970s the level of violence in the coast had grown to unprecedented heights and Vallenato was everywhere. Fed up with this, Anibal decided to move to Caracas, Venezuela, where he remained for 18 years until finally returning back to his beloved Barranquilla in the late '80s. Anibal's contribution to Colombia's Musica Tropical Movement cannot be forgotten. It is said that Anibal Velasquez recorded 300 LPs throughout his remarkable career. His ability to play music that was joyful and percussive, with lyrics right out of everyday life, while at the same time championing a new sound, has made him into one of the few living legends of Colombia's glorious musical past.

V/A- A ORILLAS DEL MAGDALENA: COASTAL CUMBIAS FROM COLOMBIA'S DISCOS FUENTES LP (domino sound, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*shop favorite restocked… Call and response wailing, percussionists that play a measure then disappear, backwards accordions and a persistent, loping bassline comprise some of the elements that make up the Cumbia. Born on the banks of the Magdalena River in coastal Colombia, this infectious music represents a marriage of African, Spanish, and Indigenous influences. Antonio Fuentes began recording Colombia's music in 1934, founding his country's first record label, Discos Fuentes. These 12 gems -- released between the mid 1950s and the mid '70s -- are lovingly selected from the Discos Fuentes catalogue. Includes tracks by Andres Landero, Los Corraleros de Majagual, Los Guacharacos, and Nafer Duran amongst others. This release comes in a tip-on sleeve.

LES PRIMITIFS DU FUTUR- TROP DE ROUTES, TROP DE TRAINS CD
(fremeaux and associes, france)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*Legendary underground cartoonist Robert Crumb and guitarist Dominique Cravic founded Les Primitifs du Futur in 1986 craving real Parisian musette instead of poor imitations heard in variety shows. Sounding like they've stepped right out of the '30s, the members of Les Primitifs du Futur brilliantly blend world musette and Django-style guitar into old-fashioned originals. With their three albums, including Trop de Routes, Trop de Trains, the band remains at the forefront of the renaissance of 'chanson française' manifestly occurring in France today. Includes 24-page booklet with photos of the performers and Crumb artwork.

ORCHESTRE DE BIGUINE- ALBUM D'OR DE LA BIGUINE CD
(fremeaux and associes, france)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*Frémeaux's Album d'Or de la Biguine has had considerable success throughout the Caribbean thanks to its selection of dance music from Guadeloupe. Its recordings of this important folkloric heritage used sixties and early seventies era studio technology that was quite superior to the material used to produce the 78's of previous decades. As a result, the record has already become a cult Biguine album for a new generation.

TINARIWEN- IMIDIWAN: COMPANIONS LP (independiente, uk)
23.98usd/14.36gbp/15.92eur/2100jpy (approx)

*Imidiwan: Companions is Tinariwen's fourth release for World Village and it possesses all the elements that have made them so magnetic to Western ears: raw simplicity, melodic beauty and songs ranging from the epic and universal to the intimate and personal. The album was recorded in the Malian village of Tessalit, home of band members Ibrahim Ag Alhabib and Hassan Ag Touhami. Already a certified bestseller, Imidiwan: Companions is now being issued as a limited edition, single-pressing LP.

THE LLOYD MILLER TRIO- THE LLOYD MILLER TRIO 12” (jazzman, uk)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Despite having dedicated most of his 72 years to the intricacies and nuances of jazz and Middle Eastern music, Dr. Lloyd Miller is an incredibly talented yet little-known genius who is still criminally unheard-of in music circles. So when Jazzman Records heard he was coming to town, they jumped at the chance of getting him into the recording studio. For a project of this importance, some proficient and capable sidemen were required -- drummer extraordinaire Malcolm Catto and Jake Ferguson of The Heliocentrics. The results were astounding. In just two hours, with Miller never having met the duo before, several tracks were cut, all with the intensity of a meeting of great minds with great artistic vision. Performed on a variety of exotic instruments from around the world, Miller's music is a unique blend of jazz with the modal and spiritual sounds of traditional Asian and Middle Eastern music.

GETATCHEW MEKURIA, THE EX & GUESTS- MOA ANBESSA LP
(mississippi/domino sound, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Getatchew is a legendary Ethio-Jazz saxaphone player. Well documented in the Ethiopiques series, he continues to make amazing music into his seventies. This LP presents nine new interpretations of Ethiopian tunes. Backed by the awesome force of The EX and a guest horn section." Includes full color 8.5"x11" glossy 28-page magazine with interviews and historic photos.

V/A- FANAJANA: A COLLECTION OF RECORDINGS AND PHOTOGRAPHY FROM MADAGASIKARA LP (mississippi, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Over a three year period in the late 1990s, Charlie Brooks embarked on two long field recording trips in Madagasikara. Brooks primarily concentrated on the more remote north and west regions of the island. Upon his return in 1999 he pressed 200 copies of a triple record and stored them under his bed for the last ten years. The three themed LPs: Vocal, Valiha Marovany and Miscellaneous Instruments were released as the now out-of-print MR-061 Fihavanana. This single LP collection compiles seventeen tracks from Fihavanana. Comes with a twelve page booklet of photography and notes.

V/A- SECRET MUSEUM OF MANKIND VOL. 1: ETHNIC MUSIC CLASSICS: 1925-48 2LP (outernational, usa)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked, now at a slightly reduced price… This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressings. Produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. 'Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery." "One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one-string violins...a profound artistry lurks beneath the alien vernaculars. --Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, and more.

NATURAL SELF- FIRE THE BODY: NATURAL SELF REMIXES 12” (sofrito specials, uk)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Limited to 300 copies. A1. 'Fire The Body Remix'; B1. 'Les Noirs Remix'; B2. 'Cokocoda Remix'. All tracks remixed by Natural Self… "As expected, the Sofrito camp pulled some heavyweight selections, and Natural Self knocked 'em out of the park with his trademark hyper-organic drums and arrangements that honor both the vibe on the original tunes and the asses on any dancefloor.." -- Jeremy Sole

V/A- TROPICAL SOUNDCLASH! 12” (sofrito specials, uk)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… The Sofrito crew return with four more tropical bangers to heat up the dancefloor! Joining forces with the talented Tropical Treats outfit from Sweden -- responsible for the big Afrikan Rhythms 12" on Gamm -- the Tropical Soundclash! EP covers raw afro funk, heavy cumbia, Caribbean disco and hot carnival rhythms, perfect for your tropical discotheque!

FRANKIE FRANCIS AND SIMBAD- FIESTA ANGOLA 12” (sofrito specials, uk)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*shop favorite restocked… The second summer scorcher from the Sofrito crew covering the hottest tropical dancefloor sounds from Africa, Latin America and the Caribbean! Fiesta Angola sees Sofrito's resident studio wizard Frankie Francis go head to head with Simbad (Raw Fusion) to sprinkle a little magic on some classic '70s Angolan sounds -- inimitable Semba and merengue rhythms with a little twist. Housed in heavy manila sleeves with stickers and on 180 gram vinyl.

BAKO DAGNON- LE GUIDE DE LA RÉVOLUTION: SIMBAD & FRANKIE FRANCIS REWORKS 12” (syllart productions/dicograph, france)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*Le Guide de la Révolution is a huge, groovy track from Bako Dagnon's album Sidiba. Fat bass, pure traditional guitar sounds, soaring vocals -- over 5 minutes of Afro-funk ! On A2 comes a Latin-flavored & more acoustic tuned re-edit by the one-and-only Frankie Francis. On the B-side, the French DJ/producer Simbad delivers one of his best reworks so far. Fat beats, psychedelic voices -- what a massive track! Check the dub version out: Africa on acid.

BAKO DAGNON- SIDIBA 2LP (syllart productions/dicograph, france)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*Bako Dagnon is one of Mali's premier Mande musicians, as well as a respected female griot. Bako sings with the authority, passion and wisdom born of having learned her craft the old way: not from recordings, as many young singers do nowadays, but at the feet of masters, deep in the countryside. As such, she may be one of the last griots to live according to the old ways of griotism, though she carries her message for the current age with a knowledge base that ranges from her native Biriko style, to the more lyrical Maninka music from Guinea to the Bambara style from Segou. She has the gift of bringing the old stories to life, making them sound utterly contemporary. On Sidiba, the special character of her voice finds a new expressive freedom, with a subtle production that brings out the best in her voice and music.

REGGAE AND DANCEHALL

KING KONG- HE WAS A FRIEND/TRY NOT I 12” (dug out, uk)
14.98usd/8.97gbp/9.94eur/1311jpy (approx)

*This record follows on from the string of mid-'80s hits for Firehouse, Jammy's, Ujama and co, for which Dennis Thomas aka King Kong is most celebrated. Originally released in 1988 as a tribute to his friend Tenor Saw, killed that year in suspicious circumstances, it came as a 12" on Thomas' own Concious Music label, and as a 7" (without "Try Not I") on Jah All Mighty in New York. This is the great dancehall singer at his most powerful. Both vocals come with dubs, and the rhythm is driving, hard and sombre, with nervous, grubbing synths, ringing claps, and a lethal bass-line. Dug Out is devoted to reggae reissues, run by Mark Ainley and Mark Ernestus. Restoration done at Abbey Road Studio, mastering at Dubplates & Mastering in Berlin.

MICHAEL ROSE/UPSETTERS- OBSERB LIFE/OBSERBING DUB 7” (dug out, uk)
11.98usd/7.17gbp/7.95eur/1049jpy (approx)

*Raw, stripped funk from the Black Ark, charged with atmosphere and aura. Done over as Zen tutelage, no doubt inspired by Michael Rose's spar Niney, this is the Final Weapon rhythm -- that signature cowbell, tough, scrubby guitar, bass bubbling deep in the pocket, and the Upsetters mixing live on the spot. Adrian Sherwood revisited the song with Ari Up -- but here is the hortical piece.

JAH WARRIOR- DUB FROM THE HEART/HEARTICAL DUB 7” (dug out, uk)
11.98usd/7.17gbp/7.95eur/1049jpy (approx)

*A collaboration between Steve Mosco and Dougie Conscious, this was originally released in 1996, in the early days of Steve's London‐based Jah Warrior label. With one eye on the past, this captures UK roots sound-system vibes, like magic in a bottle; the other on the future, it's a prophecy of dubstep. The music is live and direct, in session; grooving and intense, dense and massive; swirling, sizzling and echoing, with writhing, junglist bass.

ANTHONY REDROSE- ELECTRIC CHAIR 7” (dug out, uk)
11.98usd/7.17gbp/7.95eur/1049jpy (approx)

*A stinging, thumping, futuristic soundboy frightener, terrible and remorseless, this was originally brandished by JA producer Dennis "Star" Hayles in 1989, caged in a label sampler. Mid-decade, Anthony Redrose had a smash hit for King Tubby with an immortal song about a rhythm with fierce tempo; by now it has mutated into a killing machine, controls set to vaporize all zinc pan, super-charged with the shock treatment of all dibbi dibbi.

SELAH COLLINS/ERROL BELLOT- PICK A SOUND/WHAT A WONDERFUL FEELING 12” (honest jon’s, uk)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Three scintillating slices of the greatest UK digi there ever was, swingingly remastered and spiffily sleeved, to usher back the celebrated, Watch How The People Dancing, a compilation of cuts from the mid-to-late '80s Northeast London reggae sound system, Unity. The original DJ cut and dub version of Selah Collins's "Pick A Sound" lays down classic reggae chops with an electronic edge. On the flip, you get Errol Bellot's always charming "What A Wonderful Feeling." All brilliantly mastered by Basic Channel's Moritz Von Oswald at Dubplates & Mastering.

RICHIE DAVIS/MIKEY MURKA- LEAN BOOT/RIDE THE RHYTHM 12” (honest jon’s, uk)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Richie Davis' "Lean Boot" and Mikey Murka's "Ride The Rhythm," both with dub versions. Wicked, next-generation cuts, remastered and in spanking new sleeves in honor of the greatest UK digi label there ever was: Unity.

KENNY KNOTS/MIKEY MURKA- WATCH HOW THE PEOPLE DANCING/WE TRY 12” (honest jon’s, uk)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*New edition of the first 12" on Honest Jon's, remastered and in a new sleeve. Honest Jon's presents a 12" sampler of London-based Kenny Knots' album, Watch How The People Dancing - Unity Sounds From The London Dancehall, 1986-1989. Featuring a version not available on the album, a dub plate version, and tracks by Mikey Murka. Swinging, utterly mellow reggae & dub.

DISCO

CAJMERE- BRIGHTER DAYS/DREAM STATES 12” (cajual, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Reissue of the classics! Two of the all time DOPEST classic chicago vocals from the legendary cajmere. Yes, we've all heard "Brighter Days," but few know the "Underground Trance" mix, which is by far and away the superior version and the fullest exposition of this breathetaking classic. On the flip Cajmere teams up with Derrick Carter, who, as shown here, is capable of some of the dopest music ever in this dirty, free-spirited house masterpiece.

DERRICK CARTER/CAJMERE- GOT CHANGE FOR A TWENTY?/FEEL IT 12” (cajual, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Classic 90's Chicago tracks from Derrick Carter and Cajmere. Side A has Derrick Carters classic 'Got Change For A Twenty'. On the flip are two Cajmere classics, the Undergood Goodie mix of Feel It and Let Me Be. Essential.

MICHAEL JACKSON- BUTTERFLIES: HALLSTROM SHELTER REMIX 12” (gay, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*shop favorite restocked… It seems certain unnamed forces are attempting to Stonewall the Gay Records empire---to stop it in it's tracks here, before it can bring it's message to the masses of the world craving the new dance sound....but let this be said now: the righteous pounding of Bobbi Hallstrom cannot and will not be silenced!!! The triumphant return of Gay Records is heralded here by Hallstrom's latest remix---his fiercest yet---a beautiful rework of Michael Jackson's recent hit "Butterflies," wielding a powerful force below the belt in the form of it's unrelentingly forceful bass, dark and haunting keys and the gorgeous, distorted vibrato of Jackson's vocals, glorified with adoration by the innocent & delicate solo key work by the newest member of the Gay Records family, Tinkerbell, who recently moved from the NYC area to California to join fellow militants combatting the unjust marriage laws recently passed there by some of our less than enlightened countrymen...(s)he is very much missed. Nevertheless, Tinkerbell's presence is still felt within the confines of Gotham once more, as Gay Records continues to consolidate it's rule within and without the city, marching forward with ever increasing momentum to the soundtrack of anti-heteronormative sleaze, "Butterflies" blasting for all the queens, extroverted & introverted, straight & gay, to set their lives of passion in motion, determined to pioneer the sound of the new pleasure, the new flesh, the new club. "We're not here to be shady, just fierce."

CHICO HAMILTON- THE ALTERNATIVE DIMENSIONS 2LP (joyous shout, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Finally available on vinyl!!! Alternate Mixes of the Jazz great by Joe Claussell, Brian Bacchus, Blaze, Marc De Clive Lowe & Fertile Ground! Moving beyond the traditional Jazz-House remix album, Chico Hamilton’s “Alternative Dimensions of El Chico” returns the favor, featuring Chico’s covers of house masterpieces “Je Ka Jo” and “Elevation”, which sit comfortably with warm Latin influenced Jazz originals from the NYC legend. Refreshingly original arrangements are compliment by the production-savvy talents of contemporary dance music giants of today and legend’s past, as the masterful musicianship executed by Mr. Hamilton displays an air of youthful freedom as he playfully explores the parallels and shared lineages of a markedly varied spectrum of influences and musical styles. Clearly, the creative impetus to continue making breathtaking, spiritually-awakening pieces of NYC musical perfection has stayed aflame despite Hamilton’s aging body, and lucky for us, he’s found new partners who, though some generations past his time, share the same wild passion for sonic creation that inevitably demolishes the artificial boundaries erected between different “traditions” within music such that sounds blend freely with their own kind, free to stand solely for what they comprise: quality music regardless of cultural or ethnic heritage.

CHICO HAMILTON- MYSTERIOUS MAIDEN: JOE CLAUSSELL REMIX 12”
(joyous shout, usa)
16.98usd/10.17gbp/11.27eur/1487jpy (approx)

*Chico's stature amongst tastemakers in DJ culture is long-standing and profound. Recently Chico has turned the tables recording his own arrangements of Joaquin 'Joe' Claussell's "Je Ka Jo" and Blaze's "Elevation". Available on High Quality 180 gram premium 12" limited edition vinyl, w/ reworkings by SoulFeast (Brian Michel Bacchus & Joaquin 'Joe' Claussell). "Mysterious Maiden" is a taste of things to come from the EP "Chico Hamilton Presents: Alternative Dimensions of El Chico" which is a sampling of the Chico Hamilton continuum, coming Spring 2008.

ROUND 1- I'M YOUR BROTHER 12” (main street, germany)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Classic 1994 release, available again… With I'm Your Brother Basic Channel initiates its deep house label Main Street. The A-side features the original vocal track which production is orientated on the classics of the genre. As one would expect the result is outstanding. This fact is even more true since the dub mix on the B-side has been done by Chez 'n' Trent -- a producer dream team of the early/mid 90s.

ROUND 2- NEW DAY 12” (main street, germany)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Released in 1995… 'New Day' is the second deep house anthem produced by Basic Channel. Included is a main vocal mix and an instrumental mix on the B-side. The sound aesthetic presented here is undeniable Basic Channel alike. The instrumental version is not just the original tune without the vocals but a stripped-down-to-the-bones groove monster which lasts.

ROUND 3- ACTING CRAZY 12” (main street, germany)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Released in 1995, repressed… At the third release on their deep house division Basic Channel keeps introducing new singers. Paul St. Hilaire brings in a refreshing reggae flavour to the rather classic deep house set-up. The main vocal mix one A-side is allied with an instrumental on the B-side that reminiscent of Maurizio or Basic Channel releases.

ROUND 4- FIND A WAY 12” (main street, germany)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Released in 1998… 'Find A Way' is a perfect match to the high quality standards of deep house tracks represented on Main Street. Paul St. Hilaire's voice is approved by now and is well known for his vocal on some Burial Mix releases. A killer instrumental version is featured on the B-side.

ROUND 5- NA FE THROW IT 12” (main street, germany)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*Released in 1999, repressed… The fifth release on MS leaves the deep house scheme behind and offers an ultra deep and slow groovin' huge dub tune with rare fragmentary vocals by Paul St. Hilaire. A 12" that would fit in the Rhythm & Sound's label discography as well.

HALL & OATES- I CAN'T GO FOR THAT 12” (rca, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Total classic here on rca. Original label art and a nice crisp pressing. Featuring the lp version and the Extended Edit too. Must have funky anthem.

U2- DROWNING MAN/TOMORROW 12” (slow to speak, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*The most sound exposition of their musical potential, slow to speak’s limited 12” release of U2’s finest work testifies to the creative exceptionality that the band achieved in the first decade or so of its existence—before the despicable glamour of celebrity & commercial oversaturation quieted their noteworthy possibilities in a sea of gloss, spectacle & egoism. But is this not the eternal saga of all art? Four working-class teenagers hailing from Dublin, Ireland, U2’s initial & continued success throughout the 1980’s was in itself a monumental act of will. The members of the soon-to-be colossal rock outfit barely knew how to play their instruments at their outset, dead-set on creating a forum to cultivate their vision of deeply personal & socially conscious esoteric pop, and determined to actualize this prophecy. Within a few years they had signed a massive major label deal with Island and went on to release many of the most influential full-lengths of the latter century, going on to embody the highly-concentrated, grossly exaggerated hyper-pop personality cults that became a staple of the new media culture of the 90’s and beyond, an amalgamation of false hero-status & celebrity pseudo-martyrdom that revolve around the larger-than-life egos of band front Bono & his equally self-absorbed sidekick The Edge. But it would be a grave error and an unmistakable admission of dogmatism to fail to take account of the fact that U2 created some of the most stunning, heartbreaking exercises in musical sincerity ever recorded on a major or independent label alike, music that obviously springs forth from richly diverse personal experience and an unparalleled ability to translate this directly into accessible but honest aural elucidation. “Drowning Man,” featured on U2’s madly popular 1982 release War, epitomizes the undeniable, irrefutable brilliance of the band’s early work, a remarkably private utterance wallowing in the heart-wrenchingly tragic chord-echoes of the band’s early melodic ingenuity. “4th of July”, from The Unforgettable Fire, stands as the group’s most experimental project, employing Brian Eno’s prowess in electronic production to create this floating, ambient-induced instrumental of cryptic exquisiteness. By far the most painfully beautiful piece, “Tomorrow”—taken from the early outing October—is an echo-saturated, haunting psychic death-song taken from the deepest callings of Gaelic tradition and updated to the terrifying, violent turmoil of the Cold War era’s darkest hour. Taking the hardships of the North Ireland conflict and universalizing it to reflect the common violence and political turmoil enveloping most of the colonially ridden world, “Tomorrow” still sounds as fresh, starkly sincere & immediately authentic pronouncement in U2’s career.
It’s trying and perplexing to contrast these phenomenal records with the present and dominant image of U2, saturated as it is in a revolting mixture of creative impoverishment & self-serving “political” megalomania, where Bono takes on the role of savior to the 3rd world through base quasi-philanthropy, while The Edge somehow secures a place in the prophetic cannon of greatest guitar players of all time simply by managing to survive rock stardom through his fifties. But the comparison still needs to be made, if only to prove once more the eternal rule that dictates virtually every creative field, a truism so apparent that it can be demonstrated through the simple mathematical statement: endless money and fame equals the withering and eventual death of all good art. More specifically, as the musician is increasingly rewarded for their celebrity-status in itself—and not for their work as it stands alone—so their music declines in integrity, creative worth and general sincerity. Only a few individuals have survived the full-blown spoiling of musical celebrity and come out unscathed—they can be counted on one hand. U2 must and will be recognized as an integral contributor to quality pop & rock music, a rightful inheritor of that legacy, if only to combat the ideology of fad and hallow intellectualism that thinks first and listens later.

GIL SCOTT-HERON- HOME IS WHERE THE HATRED IS 12” (strata east, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Two of Gil Scott-Heron’s finest songs in their superior live renditions reissued on 12” here. While some of music’s best & brightest were busy watering down their social & political edge in search of greater success, Gil Scott-Heron just couldn’t seem to let go of the radical consciousness fostered by the tumultuous 1960’s. His music---adamant & directly confrontational---accumulated ever-masterful social & political perceptiveness as the dark clouds of post-civil-rights-era dissolution & increased repression continued on throughout the 1970’s. And while his own life seemed to head further down this dark path of frustration & despondency, it was his own deeply trying on-off struggle with addiction that lent his already personal songs a first hand, weathered wisdom. It was this familiarity that pushed his music from objective social description to timeless subjective immediacy, far more personally involved than the abstract theorizing of so many radicals of the time, and in this sense infinitely more effective. All this brilliant wit & unparalleled sense of humor & irony in the face of such despair was effortlessly encapsulated in the mind-blowing music of Scott-Heron & band co-leader Brian Jackson’s breathtaking, unique and original up-tempo jazz-funk. “The Bottle” & “Home Is Where The Hatred Is” are two of the best examples of his disco-friendly social realism, snapshots into the heart & soul of urban plight & desperation…it is in their live renditions that their true character is really seen & heard, the musical talent of the band fully revealed, and the spontaneous creativity and intellect of Scott-Heron on full display. Obviously his music was always created for & meant to be heard in a live setting as direct engagements with the audience in a participatory dialogue that went both ways and always stayed totally current with the most pressing issues of the time. But despite all the sorrow that shines through his songs, there’s still a hopefulness & joy that accompanies it, gives hope to listeners & and reaffirms the great rewards of creative process & expression that made all of his work so worthwhile, then and now.

THE DOOBIE BROTHERS- LONG TRAIN RUNNIN' 12” (warner bros., usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*shop favorite restocked… The all time classic rock/disco vocal “Long Train Runnin’” gets the new & most respectful remix treatment from Brooklyn’s own Dennis Perez. Taking the original masters of The Doobie Brothers’ cathartic masterpiece and remixing it with the classic NYC wit of original disco ingenuity, Perez transforms & elevates the original magic, reformulating & refreshing it’s most powerful base elements to create something entirely new---and yet still definitively classic in it’s own contemporary right. With brand new arrangement, direction & instrumentation---most notably the stunning organ solo that really punctuates the piece right in the midst of classic’s triumphant crescendo---add a new force & vitality to this already timeless production. With a high quality pressing & replica artwork to boot this 12” reinvigorates our historical gaze on the classic disco genre, reminding us that the notorious “edit” is not the only means by which we can appreciate & re-contextualize the past.

THE DOOBIE BROTHERS- WHAT A FOOL BELIEVES 12” (warner bros., usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Awesome re issue here feat a double header. The Doobie Brothers with 'What a Fool Believes' and on the flip Michael McDonald with 'I Keep Forgettin' & 'Ya Mo B There'. Crisp loud pressing on this one with three must have classics!!!

BLAZE- WISHING YOU WERE HERE/LOVELEE DAE 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Blaze classics remixed by Joey Negro & Carl Craig. totally essential.

BOBBY KONDERS- BLAK + WHITE 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*180-gram vinyl reissue of the Bobby Konders classic!

MASTERS AT WORK- REMIXES #2 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*Two of the dopest Masters at Work vocal remixes/productions from the earliest point in their career, including the impossible to find "Thrill Me" pressed loud. Simply Red- Thrill Me; MAW feat. Xavier Gold- Gonna Get Back To You.

MASTERS AT WORK- REMIXES #3 12” (white label, usa)
9.98usd/5.97gbp/6.62eur/874jpy (approx)

*classic m.a.w. remixes of Groove Collective- Whatchugot; The Brand New Heavies- Sometimes and The Cover Girls- Wishing On A Star.

V/A- A TRIBUTE TO KEN COLLIER 12” (white label, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

* What Larry Levan is to NY and Ron Hardy is to Chicago, Ken Collier is to the prodigious city of Detroit. Before Mojo electrified the airwaves with his eclectic funk and “The Wizard” Jeff Mills vied for radio supremacy, Ken Collier was busy laying down the visionary groundwork that would eventually birth Techno, defining the sound of generations to come and enriching an economically stagant city with the invaluable cultural capital of dance music. Playing in predominantly gay and black clubs scattered across the Detroit metro area, Collier pushed the boundaries of genre definition and segregation as all the great programmers of our age have, infusing the landscape of American uptempo soul with the cold analog repetition of Europe’s growing synth musics, the recognizable formula that occurred at that specific moment in American culture that lead down the inevitable road to House, Techno and Garage. But Collier was more than a historical agent that helped to create the predestined formula for electronic dance music to grow; he was, without a doubt, a brilliant and absolutely visionary disco DJ who epitomized the grassroots music community of 1970’s & 1980’s Detroit, a man of impeccable aural genius that introduced, championed and eternalized many of the indisputable classics that typify this very special city of the middle North. Focusing on the life source of all dance music, the club, and maintaining this as his immovable base of operations, Collier was the first DJ in Detroit to play the first Techno records proper, combining these otherworldly discoveries with the solid foundations of soulful dance that he had been laboring to concretize for years previous at such legendary clubs as Todd’s and Heaven, where he held residencies. Indeed, Collier was always ahead of the curb in this way, a knack that earned him city-wide supremacy among those heads really “in-the-know.” To him, this new style was a definite break with the past—but still rooted firmly in the same common roots as archetypal disco, having the creative intuitiveness to integrate this music seamlessly with the classics he had already eternalized through his tireless years of work. Unfettered by the constrictions of radio play and loyal to the deeply discerning gay vanguard that ruled the U.S. underground at that time, Collier was the most inventive and forward-looking DJ in Detroit, period. His death in 1996 was an absolute tragedy and an undeniable loss for the dance music community at large, occurring just as his due recognition was coming about. But fame was never his aim, as with any sincere artist devoted entirely to his work; the creative spirit of his breathtaking DJ sets and ingenious though underappreciated production and remixing work speaks for itself. Despite all obstacles, the re-writing of histories and the lost memories of a generation dissipated in time, his legacy has lived on to this day, passed down through faint whispers and guarded secrets of the true underground, a quiet but ceaseless wind that has finally come around once more with this deserved 12” compilation tribute to some of the legend’s greatest work.

GIFT CERTIFICATES

ADDRESS

tequila sunrise records

525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

Wednesday: 12:00-6:00pm/est

thursday: 12:00-6:00pm/est

friday: 12:00-6:00pm/est

saturday: 12:00-6:00pm/est

sunday: 12:00-6:00pm/est

NEW ARRIVALS/RESTOCKS FOR THURSDAY, APRIL 22

2010-04-22T09:58:00.001-04:00

NEW ARRIVALS AND RESTOCKS THURSDAY, APRIL 22

thanks for looking.

gracias

anthony vogdes

prices are subject to change without notice.

ROCK AND PSYCHEDELIC

PEARL HARBOR- SOMETHING ABOUT THE CHAPARALLS LP (mexican summer, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*one-off repress limited to 300 in chipboard disco sleeve coupled with a cassette copy of the release… Pulling together strands of light, synthetic pop with the unmistakable damage of proximity to Ariel Pink's Haunted Graffiti, Mexican Summer is proud to present the first release by Los Angeles teens Pearl Harbor. Piper, Sky, and Cody create dreamy, ethereal melodies not dissimilar to heavies of the past few decades (Cocteau Twins, Lush), but with the doomed worldview of today's California, fallin' into the sea, creeping ever so slightly in the background.

REAL ESTATE- REALITY LP (mexican summer, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*one-off repress limited to 300 in chipboard disco sleeve coupled with a cassette copy of the release… New Jersey’s Real Estate has successfully captured the sound of a late Sunday afternoon, in the dreaded hours before work or school claims your life again. The band’s sweet, loose pop ballads recall a modern-day Everly Brothers, drifting and dreamlike, as their tales of suburban indifference and insecurity mask your own fears. Six new songs, and not a moment too soon.

KURT VILE- GOD IS SAYING THIS TO YOU LP (mexican summer, usa)
15.98usd/9.57gbp/10.61eur/1399jpy (approx)

*one-off repress limited to 300 in chipboard disco sleeve coupled with a cassette copy of the release… More than a mere odds-n-ends collection, Kurt Vile’s LP is a compilation of tracks from Overnite KV, a tour-only CDR, along with a handful of extra tracks recorded specifically for this release. Here we find Kurt solo, four-trackin’ as usual, and blowing minds with his mix of bluegrass guitar, blazed singer-songwriterisms, and the knowledge of how to balance these contexts out with laidback precision. Psychedelic to its core, these twelve tracks speak to the will of the casual perfectionist, honing his craft with effortless aplomb.

MOUNT CARMEL- MOUNT CARMEL LP (siltbreeze, usa)
12.98usd/7.77gbp/8.62eur/1136jpy (approx)

*The trio of Matthew Reed, Patrick Reed and Kevin Shubak--heretofore known as Mount Carmel--hails from Columbus, Ohio, but if you're expecting lo-fi, greaser's palace pop a la Psychedelic Horseshit or Times New Viking, think again. Mount Carmel is a straight-up blues rock power trio. And by straight-up we mean sans revisionist three-dollar currency, Sub Pop grunge hybridization or ironic posturing. These guys have been weened on a diet almost steadfastly consisting of British blues/rock innovators: Peter Green-era Bluesbreakers, Cream and Ten Years After are immediately recognizable in their sound (in fact, the latter's "Hear Me Calling" is covered on here). This isn't a lark or something these guys are doing between noise projects--it's their life. Good, old-fashioned rock 'n' roll, plain and simple. Some folks never made time for punk, just like you've always snubbed your nose at the drum solo. Hard to believe, right? But just because you didn't live through it the first time doesn't mean you're not doomed to repeat it. The piquancy of '70s-era redbud fusing with the aroma of banana- (or strawberry-) scented paper burning and hanging in the air, the sweet cascade of Ripple hitting the back of your throat, the blurry exotica of Rorer's ubiquitous 714... it's all here, undeniably, unpretentiously and unwittingly realized. In fact, their sound is so genuine, you'll swear you were dead! Or at the very least unborn. Dig it.

JAZZ

ROLAND P.YOUNG- ISTET SERENADE LP (em records, japan)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… Thirty years since Isophonic Boogie Woogie (EM 1045CD/EM 1045HJ-LP), Em Records proudly presents new music from original underground DJ, horn-master, and producer, Roland P. Young. Istet Serenade is a foray into the area of music space that represents the core of Roland's sound philosophy, "isophonics," the theory of composed improvisation, of stillness in the fluidity of constant change. The thingness of actualized sound in the nothingness of acoustic evaporation and recreation from the source of the in-dwelling presence. This occurs at a speed which defies conscious comprehension, but which reveals abundant revelatory, spiritual aspects. It requires a state of immersion and a freedom to reach toward technical trust and semiconscious execution of the revealed composition. Upon returning to a conscious state, one hears what was created as though it is being presented. The thought then thinks about what was thought and executed as a comprovisation of point, with instantly-mixed and remixed sound devices: breath, posture, devotion, bass clarinet, soprano G and Bb clarinets and saxophone, kalimba, Native American flutes, electronic accoutrements, voice, percussion, Mac Book, family, pen, pencil and the One. As the artist himself explains: "The 10 pieces were chosen from 55 comprovisations created over the past year. My travels to and playing in the atmospheres of Israel, Prague, Rome, London, Paris, Istanbul and Santa Fe, New Mexico, combined with my formative years in Kansas City, Missouri, then my years in the Bay Area of Northern California and my current residence in Brooklyn, New York, inform my music with ever-expanding inspirations and creative possibilities. Istet Serenade is a slice of the possible." This is a sound that is thusly described as spaced acid-drones of intense acoustic chill, embracing electronic, ambient, world, avant garde, cosmic, free and chamber jazz. Deeply engrossing, truly far-out, and emblematic of this groundbreaking composer's commitment to his vision and experience of sound as a physical and spiritual process.

ROLAND P.YOUNG- ISOPHONIC BOOGIE WOOGIE LP (em records, japan)
24.98usd/14.95gbp/16.58eur/2187jpy (approx)

*shop favorite restocked… Long-awaited, newly repressed for vinyl LP edition of the legendary 5-track first LP from U.S. horn wizard & original underground FM radio DJ Roland P. Young, featuring soprano sax, clarinet, and electronically-processed bass clarinet. Young's mid-'70s work with jazz/chamber/electronic ensemble Infinite Sound (including members Glenn Howell and Aisha Kahlil) helped form the musical language of Isophonic Boogie Woogie, a solo, jazz/world music-flecked exploration of acoustic and electronic sounds. An enjoyable outing from a neglected musician. Cosmic Afro-minimal electronic winds recorded in late 1970s San Francisco.

DJANGO REINHARDT- THE 1938 LONDON DEBUT AND PARIS SESSIONS LP
(monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… While 1937 came to a close on the notes of the virtuoso 'Tea For Two,' 1938 began with the first appearance of the Quintette du Hot Club de France in England, an even greater sell-out event than Duke Ellington. The London recording sessions for Decca took place a few days after that event. Django played his own compositions, some jazz hits, and accompanied solos, the sound being now improved and more mature. The British episode was short but intense, and three more titles were recorded later, in August. In-between Django also recorded three sides with Benny Carter, who had widely played around Europe beginning in 1935. Packaged in 78 rpm style deluxe plain cardboard sleeve.

DJANGO REINHARDT- THE LAST YEARS OF PEACE: 1936-1937 LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… The British Decca company, who had distributed the early Ultraphone sides in England, was attracted by the sudden success of the band and decided to start, in the autumn of 1935, with new recording sessions, now at the enhanced Polydor studios in Paris. Although dealing with such musicians was often quite challenging for the German Polydor technical engineers, some of the results were musically remarkable, despite some low figure sales. Even during his Polydor-Decca phase Django recorded for other companies, including French Gramophone, and in November 1935 he met modern pianist Garnet Clark and US trumpeter Bill Coleman. Packaged in 78 rpm style deluxe plain cardboard sleeve.

DJANGO REINHARDT- FROM THE ULTRAPHONE SHELVES LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… From December 1934 to late September 1935, the Quintette du Hot Club de France, founded by gypsy guitarist Django Reinhardt and French violinist Stéphane Grappelli, cut nearly 20 titles for the Parisian based branch of the German Ultraphone label. During the nine months they spent under contract with Ultraphone, their repertoire included some original compositions by members of the band, as well as classic jazz gems. The selections proposed here offer a sample of Django's early genius, who showed the jazz community that the 'American way' of playing jazz was not the only one. Packaged in 78 rpm style deluxe plain cardboard sleeve.

V/A- RAG & STOMP: A RETROSPECTIVE ON 1930S WESTERN SWING LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… During the 1930s in the vast region of the American Southwest, particularly in Texas and Oklahoma, a younger generation gave birth to a new form of popular dance music. In the hard years of the depression, both rural enthusiasts who played by ear, and others who had basic notions of written music joined together and participated in the development of the so-called 'western swing'. The elements which flow into this music are easily detectable on recordings by western swing groups, melting white and black swing across the country (Benny Goodman, Glenn Miller, Count Basie, Cab Calloway, etc.), together with blues, fiddle music and ragtime, which was particularly strong in the regional heritage of Texas. Packaged in 78 rpm style deluxe plain cardboard sleeve.

FOLK, BLUES AND ROOTS

V/A- WILLOWS SONGS LP (finders keepers, uk)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*out of print from the label, in shop for the first time… Finders Keepers presents the traditional British Folk songs that inspired the seminal soundtrack to The Wicker Man. 12 vintage recordings that inspired the soundtrack to the greatest British horror movie of our generation.

FURRY LEWIS- I WILL TURN YOUR MONEY GREEN 2LP (monk, italy) 35.98usd/21.54gbp/23.88eur/3151jpy (approx)

*One of the great Memphis bluesmen of the 1920s, Furry Lewis was one of the only bluesmen of his generation to achieve widespread fame with the blues revival of the 1960s, after a recording hiatus of nearly three decades. He began his recording career in 1927 (his first session is found here) and his prowess on his instrument, along with his natural flair for storytelling, immediately set apart from so many other struggling young bluesmen. Songs like 'John Henry' and 'Casey Jones' are some of the greatest blues narratives ever recorded, and have long since become standard blues fare. Although Lewis remained an amazing musician up until the end of his life, even opening for the Rolling Stones during these later years, and appearing on the 'Tonight Show', these sides represent his best material, recorded at the end of the roaring twenties, when Lewis was a young man and at the height of his abilities.

TOMMY JOHNSON- COOL DRINK OF WATER BLUES 2LP (monk, italy) 35.98usd/21.54gbp/23.88eur/3151jpy (approx)

*Along with Son House and Charley Patton, Tommy Johnson was one of the great early talents of the Delta Blues style. Recorded in Memphis and Wisconsin in 1928 and 1929, these 17 tracks represent Johnson's complete recorded works from 1928 and 1929, and capture Johnson in his prime, when his talents were so great that when he told fans he'd made a pact with the devil... it was difficult not to believe him! Unfortunately Johnson's love for music was only surpassed by his love for 'canned heat' (large quantities of alcohol, in any form he could get it, including Sterno!). In fact, his 'Canned Heat Blues' is one of his better known songs (even lending its name to the well-known sixties blues band), along with 'Cool Drink of Water Blues' (famously covered by Howlin' Wolf as 'I Asked For Water (She Brought Me Gasoline) '). There is also some lesser known material included here, like 'Ridin Horse' and 'Alcohol and Jake Blues', taken from what is believed to be the only remaining copy of the original 78!

DOCK BOGGS- WHEN MY WORLDLY TRIALS ARE OVER LP (monk, italy) 21.98usd/13.16gbp/14.59eur/1924jpy (approx)

*Pioneering singer / banjo player Dock Boggs (b. 1898) got his start playing (while working) in the coal mines all over the poverty-stricken Appalachian region. His earliest recordings, a blend Appalachian old-time music and early blues, come from 1927-1929. During this time Boggs was fairly popular and able to make a living with his music, much to the dismay of his wife who, like many others at the time, considered secular music a sin. By 1930, however, the Great Depression had forced Boggs to pawn his banjo and go back to selling moonshine and working in the coal mines. This would have been the end of Boggs' career had he thankfully not been rediscovered by folk revivalist Mike Seeger in the 1960s and subsequently recorded some great records for Smithsonian Folkways. This record is comprised of some extremely rare alternate takes (recorded between 1927-1929) of some of his greatest songs.

DOCK BOGGS- FALSE HEARTED LOVER'S BLUES LP (monk, italy) 25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… Born in 1898 in Norton, Virginia, singer/songwriter and banjo player Dock Boggs got his start playing in the mining camps while working in the mines all over the Appalachian region. In 1927, he got a contract with Brunswick Records and began recording and playing parties all over the area. This collection represents his complete recordings from 1927-1929 when Dock was at the beginning and height of his short-lived recording career. 1929, however, was also unfortunately the beginning of the Great Depression and, like many musicians, Dock was forced to give up playing professionally due to lack of audience (no one had money for records or parties anymore). He thankfully was rediscovered in the 1960s by the folk revival movement and went on to record three great albums for Folkways, before his death in 1971.

MA RAINEY- THOSE DOGS OF MINE LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*Ma Rainey or 'The Mother Of The Blues' began recording in 1923 for Paramount, making her one of the first blues artists ever to record. Active since 1896 in vaudeville and minstrel shows, she was an incredible character, shocking the audiences with her odd lyrics and performances, often to the limit of decency and above all very uncommon for a woman of those times. This LP contains some of her greatest songs from those long lost recordings.

SKIP JAMES- JESUS IS A MIGHTY GOOD LEADER LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*Born in Bentonia, Mississippi in 1902, Skip James began recording for Paramount in Grafton, WI, in the 1930s after showcasing his unmistakable talent in a series of auditions in Jackson, Mississippi. Particularly interesting was his three finger picking technique, his high pitched voice and the rural blues tales that he put in music for a sub genre of blues that was later called the 'Bentonia school.' This LP includes some of his rarest early tunes from those lost 78 RPMs from the Grafton period.

FRANK STOKES- DOWNTOWN BLUES LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… African American singer and guitar player who got his start playing on the streets of Memphis around the turn of the century. His enormous repertoire of early folk, blues, old time country and popular music, along with his influence on local musicians has made many point to him as the true father of Memphis blues. He began touring the South with a black face Medicine Show comedian in the 1910s where it is said he met and influenced Jimmie Rodgers, among others. He then moved to Tennessee where he began playing with musician Dan Sane with whom he made his first recordings as the 'Beale Street Sheiks' for Paramount in 1927. Throughout this period Stokes recorded a number of sides for Paramount and Victor until his old time style began to lose popularity with the record buying public.

MISSISSIPPI SHEIKS- SITTING ON TOP OF THE WORLD LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… Formed in 1930 as a trio of guitar and fiddle music, the original lineup was composed of Lonnie, Sam and Armenter Chatmon, the latter best known as Bo Carter, who was also a solo star of the period. The Mississippi Sheiks took their name from Rudolph Valentino's movie The Sheik and became extremely popular in the 1930s despite the fact that the famous country music artists of the day were almost all solo artists. Their first single, 'Sittin' On Top of The World,' was also their biggest success. It went on to become a standard country blues song covered by many artists of the caliber of Frank Sinatra, Harry Belafonte, Bob Dylan and Cream.

BLIND BLAKE- BACK BITING BEE BLUES LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… Maybe Arthur 'Blind' Blake did not live too long but it was certainly enough to prove to the world that he was one of the blind geniuses the history of blues seems to be made of. Born in Florida in 1893, he died at the age of 40 in controversial circumstances -- booze? Car accident? -- leaving a good number of recordings for Paramount that made him famous as 'the king of ragtime guitar.' His astonishingly odd style made his riffs sound like a ragtime piano and his particular finger picking inspired many modern blues artists, Jorma Kaukonen among the best known.

BLIND LEMON JEFFERSON- I WANT TO BE LIKE JESUS IN MY HEART LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… The epitome of a sort of 'dark' blues, Henry 'Blind Lemon' Jefferson lived a mere 35 years, during which time he became the quintessential bluesman, conjuring a personal mix of rural and urban blues, decrying the conditions of the sharecroppers and city slum dwellers alike. He actually got his start playing in brothels and barber shops, where he developed his theatrical vocal lament. Unfortunately this early genius of the blues allegedly met his premature demise by freezing to death in 1929 in America's Windy City.

CHARLEY PATTON- ELECTRICALLY RECORDED: MOON GOING DOWN LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*One of the earliest figures in American music, Charley Patton is not only often credited with being the father of the Delta Blues, but perhaps equally importantly was one of the first true 'rock stars' of American music. Not that he played rock music (according to musicologist Robert Palmer, he played 'deep blues, white hillbilly songs, nineteenth-century ballads, and other varieties of black and white country dance music'), but he acted like a modern rock star: flashy clothes, flashy stage performances, virtuoso guitar playing, and a 'live fast / die young' lifestyle. The tracks found here feature another giant of the Delta blues: Willie Brown. Although Willie Brown was an accomplished vocalist and his guitar playing was second to none, Brown was perhaps best known as a sideman (and for his seminal 'Make Me A Pallet On The Floor'), accompanying Robert Johnson, Son House and, as heard here, Charley Patton. He appeared on many of Patton's sessions recorded between 1930-1934 and his amazing guitar playing can be heard here on 'Moon Going Down', 'Some Summer Day', as well as on his own 'Dry Well Blues'. Much of the material recorded here was recorded in 1934 in NYC, just months before his death. 'Hang It On The Wall' and 'Poor Me', recorded in February, were the last songs he ever recorded.

CHARLEY PATTON- ELECTRICALLY RECORDED: JESUS IS A DYING-BED MAKER LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… 12 more tunes from Patton's 1929 recording sessions. Here the acknowledged 'King of the Delta blues' performs some of his finest spiritual blues, like the title track, and 'You're Gonna Need Somebody When You Die.' One the most seminal blues artists of all time, this collection helps keep the legend alive. All tracks recorded in Grafton, WI, October 1929.

CHARLEY PATTON- ELECTRICALLY RECORDED: HIGH WATER EVERYWHERE LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… One step further into the life and music of this true superstar of early blues, this compilation features the two-part 'High Water Everywhere,' considered to be one of the greatest blues songs of all time, along with other pearls like 'Devil Sent The Rain Blues,' making this second episode of Monk's retrospective on Patton, another must have. Patton's ability to put the harsh everyday struggle of the Delta dwellers into music makes him one of the most enduring and soulful musicians in the entire history of blues. All tracks recorded in Grafton, WI, October 1929.

CHARLEY PATTON- ELECTRICALLY RECORDED: PRAYER OF DEATH LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… From the granddaddy of Delta blues comes this incredible compilation of his greatest songs. Charley Patton's influence on music cannot be overstated. He began playing music around 1900 and by the time he was 19, about a decade later, he had already written his most popular tune 'Pony Blues' and was on his way to becoming the first superstar of the Delta Blues and a household name. He was soon the most requested performer all over the South and influenced many young musicians, like Howlin' Wolf, John Lee Hooker and Robert Johnson, to name a few. But it was not only his mastery of the guitar and incredible vocal style that gained him popularity. His rock star-style showmanship and stage antics -- like playing guitar down on his knees or behind his back -- with a girl on each arm and drink in hand after the show, made him the idol of young would-be musicians (and non) everywhere he played. And like a true rock star, by age 42 he was dead, which of course, only fuelled his fame.

BLIND WILLIE MCTELL- SCAREY DAY BLUES 2LP (monk, italy) 35.98usd/21.54gbp/23.88eur/3151jpy (approx)

*shop favorite restocked… William Samuel McTier was born in Georgia in 1898 (according to some sources), and despite his blindness was a talented musician since early childhood. He began his recording career in 1927 for Victor Records in Atlanta and is credited with having created an entire blues sub genre by mixing the hard roots of the Delta style with the more refined East Coast style (Piedmont Blues). His unique 'country blues' can be heard on the grooves of this double LP collection brought to you by Monk records.

CHARLIE POOLE- HUSBAND AND WIFE WERE ANGRY ONE NIGHT LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… Born in North Carolina in 1892, singer and banjo player Charlie Poole is often considered to be one of the grandfathers of bluegrass and modern country music. Poole recorded 60 songs during the 1920s for Columbia Records with his wildly popular North Carolina Ramblers, so this LP is a small sampling of some of his very best songs, many of which, like his first big hit for Columbia, 'Don't Let Your Deal Go Down Blues,' are blues standards. Although Poole died of an alcohol-induced heart failure at just 39 years old, he still had plenty of time to influence bluegrass greats like Bill Monroe, and more indirectly, Hank Williams and the folk singers of the 1960s. Although Poole wrote none of his own material, his genius lay in his unique ability to rework a song, by changing lyrics and tempo, to make it something entirely new. In fact, many fans bought his records just to see 'how Charlie did it.' His North Carolina Ramblers sold huge numbers of records for the time and Poole became one of the first country music stars.

REV. JOHNNY L. "HURRICANE" JONES- JESUS CHRIST FROM A TO Z LP
(parlortone, usa)
25.98usd/11.36gbp/12.60eur/1662jpy (approx)

*shop favorite restocked… Before the Rev. Johnny L. Jones earned the nickname "Hurricane" for whipping sermons into a frenzy, before he recorded a string of gospel LPs for Jewel Records, before his church in Atlanta's West End burned in 1973, and long before his records started showing up again in thrift stores to be discovered and bought by a younger generation, Johnny Jones was just a young boy sitting at a tent revival in Marion, Ala. The year was 1949. "I can't think of the man's name, but he played piano and sang," Jones says. "I guess the audience went wild along with me and I sat back there watching him. At 13 my prayer was, 'Lord, let me play a piano just like he's playing it.'" Called to preach at the young age of 19, Jones preached at country revivals and around LaGrange before settling in as pastor at Second Mount Olive Baptist Church in Atlanta. At the small church on Maple Street in the late '50s, Jones started recording the songs and sermon of each Sunday service on reel-to-reel tape. Jones says that Coretta Scott King and the Rev. Martin Luther King Jr. lived in the neighborhood at the time. Jones started his recording career by putting out his own debut, an LP titled Working For God, financed with cash borrowed from his father. His third self-released LP, Jesus Is In Town, caught the ear of Stan Lewis at Jewel Records. The Louisiana-based record label -- "the largest Gospel one-stop in the business," according to Billboard magazine around that time -- re-released Jesus Is in Town in 1969 and continued releasing Jones' records throughout the '70s. Jones earned such a reputation for building up his sermons from slow teaching into a frenzied power that a local radio DJ started calling him "The Hurricane." Though Jones' congregation quickly outgrew the Maple Street location and moved to a church on Westhaven Drive, a fire that broke out during service on Dec. 9, 1973 stopped Second Mount Olive Baptist from growing larger. Jones says that during the peak, Mount Olive was drawing 1,500 people on a regular Sunday, but the fire almost immediately diminished that to a few hundred congregants. Jewel released Jones' last album in 1978. In the years since, those records have gone out-of-print, eventually circulating into used bins and thrift stores where they've been picked up by younger listeners unfamiliar with Jones or his church. Since being introduced by Cole Alexander of the Black Lips, Dust-to-Digital founder Lance Ledbetter and Jones have worked together, listening to the vast archive of recordings that Jones has never released. Together, they've culled those tapes into Jones' first LP in 31 years, Jesus Christ From A To Z. The collected recordings are striking, loose documents of that Hurricane style: soaring organs, screaming congregants and Jones leading it all in his distinctive moan. The Methodist theologian John Wesley once asked, "Why should the devil have all the good music?" Today, the Rev. Johnny L. Jones is proof that he doesn't. --Wyatt Williams, December 15, 2009

GLOBAL SOUNDS

V/A- TRAVELLING WITH MY PORTABLE ELECTRIC PHONOGRAPH VOLUME 1 LP (monk, italy)
25.98usd/15.55gbp/17.24eur/2275jpy (approx)

*shop favorite restocked… What did South Africa and South East Asia of the 1940s and 50s have in common? In both places the local population was trying to gain independence from British colonialism. Although colonialism is never a good thing, there are always some positive outcomes when two cultures collide, especially when it comes to music. The Zulu of South Africa are the largest ethnic group in the country and are well known for their rich musical traditions. In the 1940s, however, Zulu musicians began fusing traditional Zulu choral music (often sung by migrant mine workers), like Mbube and Isicathamiya, with the instruments and rhythms of Western jazz. A continent away in India, we see that the same kind of musical revolution was taking place during this same period. Calcutta in particular became a musical hotbed beginning in WWII, when it became one of the major ports for the South East Asian Theatre of the War. The jazz scene was mainly centered on the house bands from the various luxury hotels and British social clubs, with these bands often recording for the South East Asian division of E.M.I. Interestingly, one of the hottest stars on this scene during the 1940s was Teddy Weatherford, an African American 'expat' from the Chicago jazz scene. Beginning in 1942, following the Japanese invasion of Burma (Myanmar), hundreds of thousands of refugees poured into India, among these great jazz musicians like Reuben Solomon (of Iraqi Jewish descent) of 'The Rangoon Gymkhana Club' fame. Batuk Nandy, on the other hand, was a well-known steel guitar player who rose to fame by making 'filmi' music for Bollywood films, while Bismillah Khan was an Indian shehnai (a traditional flute-like instrument) master, and one of only three classical musicians to have ever won the Bharat Ratna prize, the highest civilian prize in India. Khan was also one of the few musicians to perform at Delhi's Red Fort in 1947 for India's Independence celebrations. Despite the obvious negative outcomes, different cultures and religions forced together in the face of economic and political adversity has historically been a recipe for great music, and as this album testifies, India and South Africa were no different.

V/A- THAI BEAT A GO-GO VOLUME 2 LP (subliminal sounds, sweden)
27.98usd/16.75gbp/18.57eur/2450jpy (approx)

*shop favorite restocked… Finally on vinyl, volume two of the legendary Thai Beat compilation including 7 (!) awesome, previously-unreleased tracks! Incredible and ultra-rare recordings from Thailand in the 1960s. The amazing Thai Beat A Go-Go Volume 2 concentrates on Shadow music string bands, cosmic surf instros, mad garage/beat, mystic go-go organs, wild guitar rave-ups, psychedelic mind-benders, and exotic female singers -- funky and soulful, with extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! These recordings have a sound that's completely inexplicable despite the use of standard rock instrumentation and song structures, combining a fascinating and primal version of rock n' roll, surf, and RnB, sometimes all in one song. Don't miss this ultimate, wild rockin' Thai '60s compilation. Limited edition of 1,000 copies worldwide. Housed in a beautiful full-color gatefold sleeve.

V/A- THAI BEAT A GO-GO VOLUME 1 LP (subliminal sounds, sweden)
28.98usd/17.35gbp/19.24eur/2538jpy (approx)

*shop favorite restocked… Finally on vinyl, volume 1 of the legendary Thai Beat compilation, originally released in 2004, including two awesome previously-unreleased tracks! Incredible and ultra-rare recordings from Thailand in the 1960s. The amazing Thai Beat A Go-Go, which concentrates on red-hot Thai curry rock n' roll, Shadow music string bands, cosmic surf instros, mad garage/beat, mystic go-go organs, wild guitar rave-ups and psychedelic mind-benders, exotic female singers, funky and soulful with extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! These recordings have a sound that's completely inexplicable despite the use of standard rock instrumentation and song structures, combining a fascinating and primal version of rock n' roll, surf, and r 'n' b -- sometimes all in one song. Don't miss this ultimate wild rockin' Thai '60s compilation. Limited edition of 1,000 copies worldwide. Housed in a beautiful full-color gatefold sleeve.

DISCO

PETER GABRIEL- GAMES WITHOUT FRONTIERS 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*A master at maneuvering between the vastly rewarding world of pop & the creative demands of experimental music, Peter Gabriel stands as one of the chief inheritors of uncompromising popular music of the 1960s, not so much in his aesthetic inheritances as much as his fortitude to uphold & maintain artistic integrity in the face of mass popularity and major label demand. As the founding member of the ever-popular Genesis, by 1980 Gabriel had already accumulated the experience and technique that would later inform his superior solo work with a sort of uncanny ability to translate the esoteric oddities of experimental, ambient and synth music with a formidable aptitude at pop writing and production that allowed him to live his notorious double life: part modern pop icon, part ambient & international music curator, founding the Real World label & creating one of the most influential soundscape full-length's of the 20th century in The Last Temptation of Christ. Even some his most well know work exudes the same imaginative, haunted & dream-like melancholy of his most abstruse music, alternating from cheerful lyrical insightfulness & unsettling melodic darkness, comprising one of the most powerful and intelligent musical legacies of the 1980s and beyond. 'Games Without Frontiers' has taken the step beyond super-hit into the cult reverence it now enjoys today, a classic example of eternal pop-rock brilliance: the supreme parody of the dangerous absurdities of European nationalism and a direct response to the dawning of a massive conservative backlash in his homeland of the United Kingdom. Ironically 'Games Without Frontiers' was most successful in the two leading nations of imperial might at the time, the United States and the U.K., a shining example of the powers wielded by an artist balancing the paradoxical status of massively famous and critically unbendable. Indeed, it is this uncompromising creative militancy, one that Gabriel has steadfastly honored and harbored with adamant resolve, that has elevated him from the typical ineffectuality of most top-40 artists to the reputable champion of the creative edge that operates as the vanguard of good pop music, without which the genre and the concept itself withers away in irrelevance and artificiality.

GIL SCOTT-HERON- ANGEL DUST: LIVE 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Gil Scott-Heron: the voice of inner city malaise; the champion of transparent honesty in musical expression; the man who lived the dark, wretched existence of addiction and 'Inner City Blues' he so eloquently described in his music. Refusing to divorce his music from the objective realities surrounding him, he tackled the most wretchedly unspeakable aspects of human suffering without a moment of flickering doubt or hesitation, dissecting and decimating systematically the pseudo-academic justification for Black America's continued wallowing in the depths of poverty, crime and disenfranchisement. Scott-Heron lived the darkness: always on the verge of death, one foot in the coffin, one firmly planted on the cracked concrete of inner city America, he managed to stand firm against the tide unaware and unconscious thought typical of the mindless rabble in favor of a markedly witty and free-spirited, joyous assault on the dominant social relations of 1970s America, all the while battling a stupendous heroin addiction. Indeed, Scott-Heron knew that of which he chronicled in his songs, ascribing words to previously inexplicable miseries plaguing the downtrodden masses of the world. This newest 12" from Slow To Speak's Francis Englehardt and Paul Nickerson features three of his dopest and most powerful songs, including two live takes -- 'Angel Dust' and 'The Bottle' -- in addition to the breathtaking 'We Almost Lost Detroit.' Highly limited, highly recommended.

PATTI SMITH- WAVE/GHOST DANCE/BECAUSE THE NIGHT 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Poet, punk-rock evangelist and unwavering proponent of authentic rock n' roll, Patti Smith is one of the most brilliant minds of modern music. Making her start in the burgeoning anti-art communities of 1970s New York City, Smith was one of the few figures that maintained the continuum of the 1960s avant-garde, invigorating it with the disillusioned and enraged outlook of post-Nixon-era youth, and in the process reinventing major label rock forever. Basking in the helpless fury of the first legitimately apolitical generation in the United States, Smith & her loyal circle of collaborators pushed their confrontational sonic warfare with fearless confidence and an unparalleled lyrical expressiveness, inspired by the total freedom of punk-rock and resolute in infusing its aesthetic populism and accessibility with a firm intellectual vivacity that did battle with the increasingly grim social landscape of neo-consumerism. Countering rampant alienation with the rejuvenating act of basic musical articulation, Smith affirmed cathartic release through song, word & collective performance, elevating her work from standard punk-rock radicalism to authentic social philosophy, an essential chronicling of the dark shadows of isolation-turned-communal transcendence and self-actualization that always lay at the heart of punk's essentially democratic culture.

NEIL YOUNG- WILL TO LOVE/CORTEZ THE KILLER: LIVE 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Neil Young is one of the greatest singer/songwriters of our era, a man of bare-knuckled will and innate, self-reliant artistic talent that has ascended from unsophisticated origins to epitomize the uncompromising major label artist that retains total creative autonomy -- a league that he and few others belong to. Originally a member of the legendary Crosby, Stills, Nash & Young folk-rock supergroup of the 1960s, Young broke away after their initial successes to concentrate on his own unmitigated self-actualization, a devastatingly sincere emotional illumination through song that circumvents celebrity and ego to deliver the core spirit of Young's vast, poetic and always piercingly relevant universe of expression: timeless, soulful, objectively flawless music. Young's work wields an inarticulable emotional poignancy, leaving the definite sensation that each song not only eternalizes the temporal emotional states of the artist himself, but speaks for all things -- sentient and inanimate -- all emotions -- joyful or despairing -- all the tragedies, triumphs and uncertainties of the human condition, united in a universal expression of the master's collective embodiment. Part of what has enabled Young's talent to flourish is his determination to maintain an impassible distance between his music and the poisonous superficialities and distractions of fame and profit. Keeping small company and focusing tirelessly on his music, Young is the greatest example of true, unfettered and unsoiled artistic integrity, a fact that has been proven constantly over the last four decades of his career: he is one of the seldom artists that cannot be separated from his work, his music a direct outpouring of his worldview. With heart-wrenching, totally unique vocals and raw, expressive, guitar-driven genius, Neil Young has lead the way for all introspective, forward-thinking individuals that know that something's not quite right in this strange world -- but assured that, at the end of the day, everything will be alright, if we can only take up our sorrows in the realm of dream, desire and song; this is Young's eternal contribution to universal spirit. "Will To Love" taken from the album American Stars 'N Bars; "Cortez The Killer" taken from the album Live In San Francisco; also included (but not listed on the cover) is "Dead Man Theme [Infinite].

U2- BLOODY SUNDAY 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*今、音を操るメッセンジャーとして最も目が離せないレーベル『SLOW. TO SPEAK』からのREMIX盤。本作は72年北アイルランド紛争に関するU2のメッセージソング"Sunday Bloody Sunday"をオリジナルに忠実ながらも原曲に内包する緊迫感を引き出した一枚。他にBJORK"ALL FULL IS OF LOVE"のREMIXなど今年のベスト・リミックス・ワーク。

NEIL YOUNG- WILL TO LOVE/CORTEZ THE KILLER: LIVE 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*Neil Young is one of the greatest singer/songwriters of our era, a man of bare-knuckled will and innate, self-reliant artistic talent that has ascended from unsophisticated origins to epitomize the uncompromising major label artist that retains total creative autonomy -- a league that he and few others belong to. Originally a member of the legendary Crosby, Stills, Nash & Young folk-rock supergroup of the 1960s, Young broke away after their initial successes to concentrate on his own unmitigated self-actualization, a devastatingly sincere emotional illumination through song that circumvents celebrity and ego to deliver the core spirit of Young's vast, poetic and always piercingly relevant universe of expression: timeless, soulful, objectively flawless music. Young's work wields an inarticulable emotional poignancy, leaving the definite sensation that each song not only eternalizes the temporal emotional states of the artist himself, but speaks for all things -- sentient and inanimate -- all emotions -- joyful or despairing -- all the tragedies, triumphs and uncertainties of the human condition, united in a universal expression of the master's collective embodiment. Part of what has enabled Young's talent to flourish is his determination to maintain an impassible distance between his music and the poisonous superficialities and distractions of fame and profit. Keeping small company and focusing tirelessly on his music, Young is the greatest example of true, unfettered and unsoiled artistic integrity, a fact that has been proven constantly over the last four decades of his career: he is one of the seldom artists that cannot be separated from his work, his music a direct outpouring of his worldview. With heart-wrenching, totally unique vocals and raw, expressive, guitar-driven genius, Neil Young has lead the way for all introspective, forward-thinking individuals that know that something's not quite right in this strange world -- but assured that, at the end of the day, everything will be alright, if we can only take up our sorrows in the realm of dream, desire and song; this is Young's eternal contribution to universal spirit. "Will To Love" taken from the album American Stars 'N Bars; "Cortez The Killer" taken from the album Live In San Francisco; also included (but not listed on the cover) is "Dead Man Theme [Infinite].

NEIL YOUNG- SOUTHERN MAN 12” (slow to speak, usa)
13.98usd/8.37gbp/9.28eur/1224jpy (approx)

*shop favorite restocked… The Feed.back series has never been focused on making the rare and obscure once again commercially available for record collectors and DJs to own. As demonstrated by the previous two selections, U2's Sunday Bloody Sunday and Loggins & Messina's Pathway To Glory, the Feed.back series is intended to really showcase some of the dopest as well as most urgently relevant classics of our recent times. More than just a music showcase, Feed.back highlights records that actually concern serious conditions of the modern era up to this day, both spiritual and political/material, records that speak to the everyday conditions that we live through in our day-to-day existence on this earth. Music has the potential to become something beyond personal healer, a social tool both for political organization and propaganda, but also for the necessary expression of mass frustration and collective purpose. Feed.back strives for the rejuvenation of this intent in the creation and playing of music. The 3rd edition of this series, Neil Young's Southern Man, articulates a marked disgust with the reactionary and inherently racist tendency of regional nationalism. Everyone is familiar with the alleged animosity between Young and Alabama's Lynyrd Skynyrd over the blatantly condemnatory articulation of the South's almost fascistic obsession with local heritage -- sic. blood & soil, the completely fallacious belief in a national story, a legacy of firm local traditionalism that fuels so much of the racism in the south. Past, present, and future is accounted for, and the legacy of slavery is carried on through demented 'local pride' that goes largely unquestioned, disguised as it is. Young put out a song that sought to openly and aggressively single out the violent legacy of Southern racism and its influence still operating strong within Southern social thought, refusing to let it fade away from the popular memory, just as the most influential and high-ranking of apologists were beginning to formulate and put into action the notion of equality finally achieved in the 'new America.'

GIFT CERTIFICATES

ADDRESS

tequila sunrise records

525 w. girard avenue

(btwn 5th and 6th streets)

philadelphia, pa 19123

SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard; 47 to girard

MAP

t/us: 1215 965 9616

t/uk: 0203 004 8357

HOURS

monday: 12:00-6:00pm/est

tuesday: 12:00-6:00pm/est

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sunday: 12:00-6:00pm/est