2020 repress; gatefold double-LP version. Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini’s words, “The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space… it’s such a living instrument.” The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm’s releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.
Out-Sider present a reissue of Wildfire’s Smokin’, originally released in 1971. Powerful and melodic hard-rock by this US power-trio: ultra-loud Quilter amps, killer leads, fuzz bass, furious drumming and vocals. Recorded at the legendary Sonobeat Studios in Austin (home of Mariani) and originally released in 1971 as a private demo album, now impossible to find. Originally formed in California in the late ’60s, Wildfire consisted of Randy Love (guitar, vocals), Danny Jamison (bassm lead vocals), and Donny Martin (drums). Famous for powerful live shows, they packed the clubs with lines around the block of fans waiting to enter, becoming the house band for Finnegan’s Rainbow and the favorite group of The Hessians Motorcycle Club, who became the unofficial guardians of the band. Soon, they got in touch with Pat Quilter from Quilter amps. Tired of blowing up amps when playing, Randy told Pat to design an amp that couldn’t blow up. And he did it. Following Wildfire’s input, Pat designed for the band the famous “Master Volume Dial” amp. In 1969, a Texas promoter heard the band in Southern California and brought them to Austin, becoming an instant hit locally in the Austin area. While in Texas, Wildfire shared the stage with Freddie King, the Allman Brothers, Johnny Winter, and ZZ Top. It was in Austin that the eight-song demo was cut at Sonobeat Records (home also of Mariani and Cold Sun), released in 1970 as a private pressing housed in a plain white cover with a Wildfire sticker, each one numbered. The demo album was never sold other than at a small record store in Southern California and it’s now one the rarest hard-rock albums from the US. First bootlegged in the ’90s and then officially reissued by Shadoks in 2006, here’s a welcomed new vinyl edition. RIYL: Grand Funk, Bolder Damn, Demian, Cactus, Stack, Banchee, Blue Cheer, Hendrix… Master tape sound; includes insert with liner notes and photos.
Tangerine serves as a coda to the qualities that have established Shanti Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. Tangerine is Celeste’s most fully-realized contribution thus far to this continuum of musical culture. More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There’s a kalimba, recorded at her father’s home in Chile. There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and color you know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with good friend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work. Creating Tangerine has been a space for Celeste to explore all of this with a freedom that has come with the easing of expectations that an artist earns with the passing of time. Striking a balance between deeper, understated sounds and building gradually towards the fleet-footed bursts of rave energy that Celeste is known for, Tangerine peels back layers of dreamy textures to reveal an optimistic afterglow, reflecting on a life devoted to club culture. “When I made music for EPs, sometimes I felt restricted,” she says. “I would think too much about creating the moments on the dancefloor I love — seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping.”
Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form. Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own “Cascata di Malbacco” tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw. On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time. Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences. John Carroll Kirby has released records on Leaving Records, Outside Insight, and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces, and Solange. He recently signed to Stones Throw Records. Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ — with E2-E4 representing the format’s high tide mark — each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12″ piece of plastic. Set and forget, zone out to tune in.
Second Circle announce the latest release on the label comes from the Indonesian outfit Zatua with their debut release Sin Existencia. First formed by Dea Barandana, the seven-track album was recorded in Jakarta and Bali over two years and grew out of improvised live shows with a band Dea put together. Zatua first performed together in 2017 at the Goethe Institute in Jakarta as a last-minute addition to the bill, having only a week to prepare and rehearse. The live show would consist of material based on simple melodic ideas and extended sections growing into live jams. Taking material from Dea Barandana’s solo compositions the ideas were then further developed and re-structured by Dea and band members Harsya Wahono, Adra Karim, and Rafi Muhammad into finished pieces. Inviting further guest musicians to join on various tracks, the vocals were in fact largely improvised by Carmen Caballero Fernández and Sasha Sabrina — in French, Spanish, and Asturian. Using predominantly analog equipment, Sin Extistencia is the final outcome of an extensive exploration into the unique sonic ranges and musical fascinations of the various members of the band. Taking influence from Indonesian psychedelic music from the 1970s and ’80s the album presents a fascinating glimpse into contemporary Indonesian electronic music with a nod to its little known but rich past.
Limited edition LP version on red marble vinyl, housed in a gatefold sleeve with insert. “The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus.”
2019 repress; Double LP version, part 1. 15 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chakachas, Mad Unity, René Costy, Alex Scorier, Open Sky Unit, Plus, André Brasseur, Les Hélions, Chicken Curry & His Pop Percussion Orchestra, Placebo, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters, Nico Gomez & His Afro Percussion Inc., and Chocolat’s. The best Belgian dance tracks from the beginning of the ’70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it’s hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there’s hardly any money to be gained anyway, you may just as well play what you bloody well like. That’s what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early ’70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat’s, and “The Birdy Song.” Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans’ jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there’s Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the ’60s and the electronic triumphs of Telex in the late ’70s and early ’80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon.
Includes CD. As David Fricke points out in his liner notes, this is not just another novelty guest-project, the Krokofant on Q is like a brand-new band. In fact, all the involved are so happy with this album that there’s more to come with a bunch of new material already written. After three albums in three years as a trio, and sensing the possible danger of being stuck in a formula, they all felt a need to try something new, taking the band one step further. Especially Tom Hasslan, guitarist and main composer, felt an urge to expand the canvas and sonic possibilities. Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal) was the trio’s first choice for a keyboardist. He had seen Krokofant live in 2015 and, in his own words “had an instant kick”, so he said yes straight away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) had seen them the same year, and practically invited himself to join up at some time. Hasslan’s tunes are perfect vehicles for Storløkken to present the full scope of his playing; from sheer pastoral beauty to full on jazz skronk. The same can be said about Jørgen Mathisen, who is given ample room for soloing. By introducing Håker Flaten and his bass, work was lifted from Hasslan’s shoulders while a “proper” rhythm section was born, Skalstad and Flaten instantly bonding. Personnel: Tom Hasslan – guitars; Axel Skalstad – drums; Jørgen Mathisen – saxophones; Ståle Storløkken – Hammond organ and keyboards; Ingebrigt Håker Flaten – bass.
Studio Mule present a reissue of BGM’s Back Ground Music, originally released in 1980. The debut album from Japanese living legend, electronic music producer Takayuki Shiraishi. Released on legendary experimental music label in Osaka, Vanity Records, run by Yuzuru Agi when Shiraishi was high school student. Shiraishi was influenced by the music of post punk, new wave, kraut rock — this album is his unique mixture of that kind music style. One of the most in-demand alternative music albums from japan finally reissued. Remastered from original tape and mastering by Kuniyuki Takahashi.
Complete recordings by The Beatstalkers, 1963-69, the legendary band from Glasgow. Fabulous mod-beat, wild R&B, and pop-psych, including all their 45 sides for Decca and CBS plus early demos. Formed in Glasgow in 1962 during the early beat boom by Alan Mair and Eddie Campbell, their line-up also included Davie Lennox, Tudge’ Williamson (replaced by Jeff Allen) and Ronnie Smith. Playing an authentic brand of rhythm n’ blues and soul covers, they soon took the city by storm and were famous for their riotous shows, attracting hordes of screaming girls and young fans. No wonder they were dubbed “the Scottish Beatles” by the press. Between 1965 and 1969, The Beatstalkers would go on to release a total of seven singles. All these sides are featured here. Including mod/freakbeat classics like “Base Line”, “Ev’rybody’s Talkin’ ‘Bout My Baby”, “You’d Better Get A Better Hold On”, plus several tracks penned by a young David Bowie (“Silver Tree Top School For Boys”, “Everything Is You”, “When I’m Five”), a killer psych cover of The Action’s “Little Boy”, and more. The Beatstalkers were a strong live attraction in the clubs and ballrooms around Great Britain (they also held a residence at the Marquee) and were highly praised by their contemporaries, including The Who, with whom they shared a “Ready Steady Go” television appearance. David Bowie was also among their crowd and through mutual manager Ken Pitt, he ended up writing three songs for them. He also played guitar and sang backing vocals on some of the recording sessions. Some of The Beatstalkers 7″ were also released in the US, Australia, and France (where an EP housed in a cool picture sleeve was issued). The band also toured Germany many times. In 1969, after their van was stolen with all their equipment, The Beatstalkers broke up. Eddie Campbell was later in Tear Gas and Jeff Allen went on to play for Dr. K’s Blues Band and then East Of Eden. Alan Mair was a co-founder of The Only Ones (of “Another Girl Another Planet” fame). The band reunited for a show in Glasgow and in 2018 a book about the band was published. Remastered sound; includes color insert with rare photos and detailed liner notes by Lenny Helsing (Ugly Things).
Double LP version. 180 gram vinyl; glossy, 350gsm gatefold sleeve. Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil’s 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love’s Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil’s ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality.
Black Saint present a reissue of Sonny Clark Memorial Quartet’s Voodoo, originally released in 1986. Voodoo shows the Sonny Clarke soulful hard bop conception as seen through the oblique perspective of a NY Downtown all-star quartet featuring John Zorn (alto sax), Wayne Horvitz (piano), Bobby Previte (drums), and legendary bassman Bill Drummond. This unique and iconic album stands as one of Zorn’s first declared tributes to the art of an influential musician and composer. All compositions are by Sonny Clark including such hits as “Cool Struttin'” and “Something Special” both from his classic late ’50s/early ’60s Blue Note sessions. A full catalog of opened up hard bop structures and advanced jazz modes.
“After five long years of waiting, rural psych masters, Sore Eros, return with an extended statement of purpose. Although their partial spatial dislocation from Western Mass has seemly rendered them a studio-oriented outfit, the lovely tangles of sound they create are as optimally fried as ever. The album was helmed by engineer/producer Adam Granduciel (War on Drugs) who was the only one capable of coaxing the whole band into the studio. Aided by players like Daniel Oxenberg (ex-Supreme Dicks) and Kurt Vile (ex-Nest of Saws), the music on Sore Eros was recorded between Philly and L.A., and seems to owe some its creative modeling to those cities as well. Indeed, the side-long ending track, ‘Mirror,’ feels like it’s equally indebted to left-coast canyon-hugging surf-pop and cheese steak-powered garage-volk readymades. The rest of the album is just as sizzling. The tunes move between large-scale rock moves with Deadly intent and strangely-drifting pop aktion that gets close to Bobb Trimble’s version of otherness. The overall heft is more woodsy than beachy, but maybe I’m just saying that ’cause I’m listening to the thing in the middle of a forest. Pressed at 45 RPM for extra high fidelity, packed up with a poster insert you can throw darts at (just like an earlier generation threw darts at the insert from the first Silver Apples LP), the theoretical swan song of Sore Eros is all a head could hope for. And then some.” –Byron Coley, 2019
180 gram vinyl; 350gsm gatefold sleeve; includes download with “The Doctrine Of Eternal Ice”. Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the “body without organs” was fully eviscerated. Graeme felt “industrial music” was becoming ossified and needed to be taken into radically new territories: “post-industrial”. The track “In Flagrante Delicto” (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute’s 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.
Karl O’Connor’s banging Regis 1998 blueprint is back in circulation for the techno ultras. The track list has been reshuffled from all previous versions. The A-side now runs through “Hands Of A Stranger” and the cold pipes of “Disease Through Affection”, and is backed with the chewy grind of “Body Unknown” and the tonkin’ hustle of “Barriers”, while the C-side revolves “Concentrate” along with three hefty locked grooves and the D-side includes “Escape From Yourself” and the panic-inducing trample of “Indifference”. It hardly needs to be reiterated but this set includes some of the meanest examples of late ’90s UK techno, and more specifically, the Birmingham sound that Regis forged so definitively with this album, alongside efforts by his peers, Surgeon, Female, and Mick Harris. If you weren’t party to the original pressing, this one stands out thanks to the remastering, which really highlights the pebbledash grain and clangorous industrial atmospheres of the original recordings, which surely set this record and sound apart from the crowd. Entirely remastered at Dubplates & Mastering and cut with three bonus locked grooves not found on the 1998, 2003, or 2012 editions. Includes new artwork. Edition of 500.
2020 repress; gatefold double LP version. Alessandro Cortini is best known as the lead electronics performer in Nine Inch Nails’ live unit. His recordings under his own name have gained prominence in recent years and he has become known as one of the pre-eminent Buchla masters in North America. Cortini makes a surprising departure into the 202 on his debut album for Hospital Productions — Sonno. Sonno was recorded in hotel rooms, using a Roland MC 202 through a delay pedal, recorded direct, sometimes into a small portable speaker system. “I liked to walk around the room with a handheld recorder to hear where the sequence would sound better, turn on faucets, open doors or windows to see how the ambient sounds would interact with the MC 202/delay/speaker sound. It was very relaxing and liberating to make music this way.” The result is a beautifully restrained yet oddly emotive album that’s quite distinct from the overly academic approach so often undertaken by hardware-driven devotees. Mastered by Matt Colton.
“We’re excited to release the debut solo LP by Matthew J. Rolin, currently a resident of Columbus, Ohio. Rolin cut his teeth with garage and psych outfits in Cleveland, appearing on vinyl by Shoreway and Nowhere before he found himself adrift and wandering in the direction of Chicago at the end of 2016. Matthew had always been a fan of Jim O’Rourke’s brilliant Bad Timing LP (Drag City, 1997), and when he caught a set by Ryley Walker soon after arriving in the city, he decided to throw himself into developing his acoustic chops. Without really knowing much about the history or context of the American primitive/concert steel string scene, he managed to create a distinctive sound and approach to the instrument, owing less to the music’s arts-blues fundamentals than to the contemporary players who have expanded outward in all directions from those initial impulses. Playing his first solo gig in Cleveland, opening for Daniel Bachman, an audience member mentioned John Fahey to Rolin, but he had no idea who the guy was talking about! The root-thread of Rolin’s playing flows more from Glenn Jones onward, through Rose and Bachman and Blackshaw and Walker and Lane. I feel like I detect a ‘Vaseline Machine Gun’ urge towards Kotte-esque density in certain spots, but maybe that’s just me. Regardless, Rolin’s talents as a solo player (abetted only by Jen ‘Donkey No No’ Gelineau’s violin on one track) are immediately clear from the first note he plays. Matthew currently works both solo, and in a duo with dulcimer player, Jen Powers. If you get a chance to see him don’t pass it up. Nor should you pass up this chance to score his first long player while it’s hot off the presses.” –Byron Coley, 2019 Edition of 250.
“Emotional ambient, soft focus synthesis and pastoral programming from German duo Cass. & Gianni Brezzo on Hamburg’s Growing Bin. Hopeless romantic with GSOH seeks open minded audiophile for lifelong companionship. The style might change, but the quality remains the same in the Growing Bin. For this autumnal edition, the Hamburg label looks South West to Osnabrück and Cologne, home to Cass. and Gianni Brezzo respectively. Sharing an appreciation for emotive tonality and expansive texture, the two musicians make the perfect partnership on Masala Kiss, Brezzo’s timeless melodies only serving to intensify the signature sensuality of the Cass. sound. Despite the occasional polyrhythms, you’re hearing two hearts beat as one… Insistent and expressive, well-traveled opener ‘Jaybo’ joins the ethnic and esoteric with a new age optimism before giving way to the detailed ambience and good nature of ‘Umberella’, a brief pitstop on the road to the meditative ‘Imence Sense’. Alive with layered guitars, this opiated raga dances like hashish smoke in the evening sky, and then it’s up into the cloud forms of ‘Instabubu’ and ‘Autoscooter Love’, celestial serenades both off and on beat. Cass. and Brezzo set controls for the heart of the sun with the Friesean ‘Out Of Mind’, a cinematic exercise in precision sequencing and frequency control then start the journey home with the dewy bells and delicate waveforms of ‘Koli’. If you’re in need of a little new age funk for your poolside playtime ‘Helge’ and ‘Der Däne’ are on hand with the chunky bass and languid grooves, while a last-minute interlude provides a prenatal comfort and womblike warmth. I always cry at endings, and ‘Paterson’ provides pure emotional release in utterly Balearic fashion. Pensive guitar and euphoric synths meet on the waterfront as you stare over the ocean with all the people you love.” –Patrick Ryder
Andean party music from the central sierra of Peru. TAYTA SHANTI’s long history of complex syncretism is expressed through its simple song structure. Minimal and raw, or layered with intricate arrangements, its unrelenting rhythm mesmerizes as much as it moves. 16 songs of pure folklore, spanning the late 1960s until the early 1980s. Compilation includes liner notes and photos. Instant mountain rave.
ANDALEEB WASIF was born in a well-known family of Hyderabad, India in 1928. A self-taught singer and harmonium player. He gained recognition early in life, performing for the Nizam (ruler) of Hyderabad when he was only six years old. On this recording Wasif performs six ghazals, a poetic form of couplets focussing on love and longing with mystical and spiritual elements. The lyrics to the ghazals featured on the recording are written by some of the best known Urdu poets of the 20th century including FAIZ AHMAD FAIZ. Never commercially released, the songs have been sourced from private concerts, home recorded cassettes and radio shows. Andaleeb’s renditions are enigmatic, filled with pathos, timeless and ethereal.
Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, “Stand In The Fire” delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire (“Jeannie Needs A Shooter”) and fuels the emotional inferno with high-speed bursts of rock (“Excitable Boy”). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful “Mohammed’s Radio”. In a direct comparison to this number we have the forthright, no-nonsense hit “Werewolves Of London” with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk (“I’ll Sleep When I’m Dead”) and finally in the thunderous final number – “Bo Didley’s A Gunslinger” – with its percussive and metrically complicated antiphony.
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.
At long last! Three years after his début as a bandleader, Phineas Newborn found a courageous producer who was willing to allot him time in the studio to record an LP. The man from Tennessee brought with him his guitarist brother Calvin and a rhythm group made up of super stars Oscar Pettiford and Kenny ‘Klook’ Clark. What resulted was an outstanding, dazzling piano album full of fire.
How these musicians dash through “Celia” makes one forget Bud Powell, its composer and demigod on the piano. The tempo and the breaks would lead you to break your ankle if you tried to tap your foot to the music. “Dahoud” from the repertoire of the Clifford Brown Quintet is similarly fast-paced. Just listen to Kenny Clarke and you will be astounded by his precision and swing. In addition there are little gems such as “The More I See You” and the “Newport Blues” that is dedicated to the legendary Jazz Festival held on Rhode Island, where Phineas was often to be heard. All in all, this LP is a real treasure, which sees the light of day once again after sixty years.
Bastard old school death metal orcs PETRIFICATION return with their debut full-length album, unleashing a lawless legion of pummeling and brain-eating riffs designed to annihilate the listener and dismantle their flesh in the most barbarous and least efficient way possible. Through these eleven new cuts of decaying brutality and mental abuse, the Portland death metal butchers unleash a barrage of classically gruesome and traditionally repulsive death metal chaos that worships directly at the rotting altar of legends Autopsy, Nihilist, Grave, Convulse, Funebre, Bolt Thrower etc., while also setting their footmark as a visionary and ambitious entity all of their own, set on a path of total self-determination within the most liminal realms of absurd death metal de(con)struction.
Welcome, friend. You’ve just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as “Earthquake Bass.” Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled “U.S. Blues” that serves as both an irresistible rallying cry of pride and ironic commentary. And the Grateful Dead’s interplay continues to wow, peaking on “Unbroken Chain,” the most obvious example yet of the group’s shared chemistry and individual talents. Yes, we’re certain you’ll enjoy your stay. In the lobby, you’ll find decoratively funky “Scarlet Begonias.” Do we need mention the music, performances, and sights sound and look better than ever?
Mastered on Mobile Fidelity’s world-renowned mastering system, pressed at RTI and strictly limited to 4,000 numbered copies, Mobile Fidelity’s 180g 45RPM vinyl 2LP set of From the Mars Hotel comes on as both an audiophile delight and Deadhead’s dream. Vastly improving upon the long-out-of-print 1984 MoFi version that currently commands upwards of hundreds of dollars on the aftermarket, the new version takes advantage of enhancements to the cutting system, pressing process, and mastering gear. MoFi’s engineers have taken every precaution in honing the sound and feel of the Dead classic. And you cannot argue with the extra information within the wider 45RPM grooves.
Originally made in a modern facility dubbed Studio A – a large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use it – From the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs got added, most notably in the form of John McFee’s rustic pedal-steel guitar accents on one track and Ned Lagin’s spacey synthesizer passages on another. Always prized for its superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and the distinctive aura of a real band playing in a defined space.
With Keith Godchaux’s spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchaux’s soaring background vocals bringing up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing “U.S. Blues,” down-and-dirty funky soul of “Loose Lucy,” and slippery “Money Money.” These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the era’s burgeoning mix of soul, R&B, psychedelic rock, and dance, the collective places its own memorable stamp on the day’s popular fusion.
Yet From the Mars Hotel earns its stripes as a must-own album for Deadheads and traditional listeners alike because of the manners in which the six band members communicate, bond, react, and create. Singing lead on the high country of “Pride of Cucamonga” and interlocking centerpiece “Unbroken Chain” while threading the record’s golden tapestries with silvery bass lines that cradle, shift, and anchor the arrangements, Lesh turns in a heroic individual performance.
Each of his mates maximize their own techniques: Garcia lending equal doses of sincerity and salaciousness; Bob Weir hunting, pecking, and jabbing guitar phrases into the flux; drummer Billy Kreutzmann demonstrating jazz-like flair, flawless timing, and rhythmic wit. It’s no wonder that many Deadheads, if forced to choose, would select “Unbroken Chain” as the premier example of third-era Dead interaction. Relatively concise, eminently soothing, and named for a crumbling hotel down the street from Studio A, From the Mars Hotel forever dispels the tired notions that the Dead never succeeded in the studio after leaving Warner Bros. and aimlessly drifted (the longest track here clocks in at a scant 6:45).