Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.
Review: London producer and singer Anaiis (formerly Anais) shares a new, cinematic r&b record, touching on notes of Brazilian soul and alternative pop, and continuing her emphasis on making music as a liberation entreaty for social justice. Following 2019's Darkness At Play and the 2017 EP 'Before Zero', this record marks a turn towards sombre vibrancy and chromic experimentation, building on a personal process of roots rediscovery in Brazil. With features from Grupo Cosmo and Luedji Luna, local Brazilian musicians with whom Anaiis felt a deep connection, this is a record born of sunned idleness, providing a holding space for a turbulent life transition on the artist's part. With dripping strings, slowmo MPB motifs and infused lo-fi and r&b tones, this is a record that strikes a fine balance of imperfection and delicateness.
Review: This is the second of three inventive and influential albums that John Cale released through Island Records in the mid-70s. The Velvet Underground founding member was in stellar company with Brian Eno, Roxy Music's Phil Manzanera and one of the most prolific studio session guitarists of all time, Chris Spedding, all appearing on the album. The album is stacked with bangers, but of note is the life-affirming and soulful 'Dirtyass Rock 'n' Roll; his cover of 'Heartbreak Hotel', which is one of the best covers ever recorded and 'I'm Not The Loving Kind'. The latter gained recognition most recently when the late, great Mark Lanegan covered it beautifully for his Imitations album. Cale will forever be a wellspring of inspiration.
Roger Ekman - "Motivationen Maste Vara Stor" (2:39)
Heaven & Earth - "Feel The Spirit" (4:44)
Review: Masterful curator Paul Hillery returns with another essential instalment in this wonderful BBE series. Volume 3 continues his tradition of unearthing rare, high-quality tracks so it is a perfect companion to his Children of the Sun trilogy. This one spans funky folk, jazzy AOR, lo-fi dub and DIY folktronica and includes numerous gems like Sheila Chandra's ethereal vocals and Tim Green's euphoric grooves, a playful vibe from Gil De Ray on 'Something About Nothing' and plenty more besides. With extensive sleeve notes, this is a deep sonic journey that also cements the man behind it as an expert archivist.
Review: King Gizzard & The Lizard Wizard's August 2024 Detroit performance strips back their usual high-energy psychedelia to reveal a more intimate, acoustic side. The recording captures reworked versions of their tracks with precision and depthi'Theia' finds new resonance in its gentler arrangement, while 'Ambergris' breathes with delicate percussion and restrained guitar work. The interplay between instruments feels exploratory, creating an atmosphere that's simultaneously familiar and fresh. It's not just a concert captured on vinyl but a reimagining of their sound that allows the nuances of their songwriting to shine through.
Review: Discos Mas kicks off their New Year with a vibrant Los Disco Duro version of the iconic 'Cumbia de Sal'. this top take blends the famous Moog cover with the original 60s version for some super fresh results. Featuring vocoder vocals, brilliantly resonant synths and funky drums, this unique cut enhances the classic cumbia beat with all-new energy. The release also includes a double A-side with a cover of 'Mexico' by the wonderful Mexican Institute of Sound. Camilo Lara's original composition is reimagined with signature Los Disco Duro elements such as vocoder vocals, synths and cumbia percussion, all of which add up to a refreshing mix of modern and traditional rhythms, nostalgia and innovation.
M Hawk - "Beat Me Till I'm Blue" (No Horns version) (2:41)
The Mohawks - "Beat Me Till I'm Blue" (Horns version) (2:42)
Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .
Review: A fresh Brazilian voice has emerged in London's vibrant music scene under the name MOMO. His seventh album, Gira, out on Batov Records, marks a notable departure as he blends classic Brazilian influences with a contemporary twist. Drawing inspiration from the rich tapestry of 1970s tropicalia, Os Mutantes, and Milton Nascimento, MOMO. presents an album that incorporates a modern edge to timeless sounds. Recorded at East London's Total Refreshment Center with an ensemble of local jazz talent and Brazilian collaborators, Gira features contributions from notable musicians like Alabaster DePlume on tenor sax, Jessica Lauren on keys, Tamar Osborn on baritone sax, and Nick 'Emanative' Woodmansey on drums. This project represents MOMO.'s first London-recorded album and is a shift in focus from guitar and voice to a groove-driven approach. From its start with a rhythm-centric feel, Gira exemplifies spontaneous improvisation and dynamic songwriting. MOMO.'s journey from his acclaimed 2006 debut, A Estetica do Rabisco, to this latest release highlights his evolution. With praise from notable figures such as Patti Smith and David Byrne, and a tribute to Caetano Veloso, Gira is a testament to MOMO.'s growing influence in the global music scene.
Review: Paul Ngozi's concept album, centered on the 1970s African townships' struggles, is a brilliant addition to the Zamrock legacy. This release is the third in Now-Again's reissue series, following the acclaimed Day Of Judgement and 45,000 Volts. The album comes with an oversized eight-page booklet filled with rare photographs, a comprehensive discography, and detailed annotations about Paul Ngozi and the Ngozi family's journey. Zamrock, a uniquely Zambian rock movement, thrived independently in the newly-named Zambia, formerly Northern Rhodesia. Unlike Nigeria's rock scene, influenced by European labels, Zamrock was purely homegrown. It encompassed a wide range of subgenres, from Musi-O-Tunya's fusion of Afro-beat, Hendrix-style rock, and traditional Zambian rhythms to Salty Dog's acid folk/rock.
Paul Ngozi, along with bands like WITCH and Amanaz, crafted music that stood apart not only in Africa but globally. This album is an example of the exciting, distinct sound of Zamrock, celebrating its originality and cultural significance.
Review: Broc Recordz's Cosmos Giants album is a celestial creation that stems from a monumental collaboration between Janko Nilovic, JJ Whitefield from Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've sculpted a sonic world where genres meld seamlessly and offer a transformative auditory experience where funk, psyche, and soul all inform a jazz underbelly. The ensuing musical odyssey rather defies easy categorisation that is all about immersion in meticulously crafted tracks. From the laidback vibes of 'Inner Space' to the eerie and celestial melodies of '(Wind From) Mount Everest' this is a high-class record.
Review: We all know Italians do it better, but did you also know they seem to have the very best library reissues on the planet? Here the legendary singer and vocalist Nora Orlandi joins iconic jazz drummer Franco Tonani for a masterpiece of 1960s-early-1970s production that really encapsulates the ambience of a bygone age which feels dreamlike today. Fittingly, much of the music similarly invokes a sense of surrealism and psychedelia. You can almost feel yourself descending into the depths of a strange and beguiling night filled with weird and wonderful characters as these arrangements play out with pin point precision. A trip to another era, but also a trip into the mind's eye and all that may live there. Exquisite, masterful, but most of all utterly inimitable and difficult to countenance.
Review: Standing as one of Santana's most remarkable live albums, capturing the band's extraordinary chemistry and virtuosic performances during their 1973 tour. Originally released in Japan and not available domestically until much later, this triple LP remains a definitive document of the band's fusion period, blending Latin, Afro-Cuban, jazz, rock and psychedelic elements. The album showcases the thrilling improvisations and spiritual depth of the eight-piece lineup, featuring legendary tracks like 'Every Step of the Way', 'Toussaint L'Overture' and an incendiary 'Incident at Neshabur'. The reissue, sourced from the original master tapes and pressed on 180g vinyl, offers audiophile-quality sound, enhancing the clarity and balance of the performance. The dynamic range, rich bass and vivid percussion are rendered with exceptional presence, offering an immersive listening experience. With the inclusion of seven previously unreleased tracks, Lotus captures the band at its peak, delivering both precision and passion. This reissue is a stunning tribute to Santana's pioneering fusion era and in its most complete and unique packaging yet.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Aubade (1:48)
The Tale Of Taliesin (7:15)
Ban-Ban Caliban (9:40)
Song Of Aeolus (4:08)
Out Of Season (5:31)
Second Bundle (2:29)
Kayoo (3:21)
The Camden Tandem (2:07)
Nexus (0:49)
One Over The Eight (5:18)
Etika
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Softs marked a pivotal moment in Soft Machine's evolution, departing from their experimental roots towards a refined jazz fusion sound. Following Bundles in 1975, this album found the group embracing a more structured approach while still delivering intricate and dynamic compositions. Keyboardist Karl Jenkins takes a more prominent role, with his compositions blending beautifully with John Etheridge's fiery guitar and Alan Wakeman's expressive saxophone. Highlights include the energetic 'The Tale of Taliesin', featuring a blistering guitar solo, and 'Ban-Ban Caliban', where the band's fusion of synths and sax creates a rich, textured sound. The album also includes softer moments like 'Song of Aeolus' and the piano-acoustic guitar duet in 'Out of Season', offering a contrast to the intensity of the faster tracks. Drummer John Marshall shines with a powerful solo in 'Kayoo' and the album concludes with Etheridge's gentle acoustic piece 'Etka'. While Softs diverges from the classic Soft Machine style, it stands as a strong jazz fusion album with undeniable charm. It's an excellent listen for fans of the genre, though some purists may find it a departure from the band's psychedelic roots.
Review: Softs marked a pivotal moment in Soft Machine's evolution, departing from their experimental roots towards a refined jazz fusion sound. Following Bundles in 1975, this album found the group embracing a more structured approach while still delivering intricate and dynamic compositions. Keyboardist Karl Jenkins takes a more prominent role, with his compositions blending beautifully with John Etheridge's fiery guitar and Alan Wakeman's expressive saxophone. Highlights include the energetic 'The Tale of Taliesin', featuring a blistering guitar solo, and 'Ban-Ban Caliban', where the band's fusion of synths and sax creates a rich, textured sound. The album also includes softer moments like 'Song of Aeolus' and the piano-acoustic guitar duet in 'Out of Season', offering a contrast to the intensity of the faster tracks. Drummer John Marshall shines with a powerful solo in 'Kayoo' and the album concludes with Etheridge's gentle acoustic piece 'Etka'. While Softs diverges from the classic Soft Machine style, it stands as a strong jazz fusion album with undeniable charm. It's an excellent listen for fans of the genre, though some purists may find it a departure from the band's psychedelic roots.
Review: Spiders deliver a bold mix of classic rock & roll, garage rock grit and new wave flair in this dynamic release. Drawing inspiration from Gothenburg's underground venues and the rebellious spirit of icons like Debbie Harry, the music channels raw energy with a modern twist. The tracks are full of sharp riffs, commanding vocals, and relentless rhythm, weaving together nostalgic references with fresh creativity. With its edgy production and unrelenting attitude, this release showcases Spiders' knack for reinventing rock without losing its rebellious essence.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Let It Happen
Nangs
The Moment
Yes I'm Changing
Eventually
Gossip
The Less I Know The Better
Past Life
Disciples
Cause I'm A Man
Reality In Motion
Love/Paranoia
New Person, Same Old Mistakes
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Australian combo Tama Impala has always been hard to pin down, with their two studio albums to date displaying a keen desire to capture a trippy, psychedelic vibe, whilst refusing to settle on one easy-to-categorize sound. Currents, their fourth album, continues this trend, toning down some of the psychedelic rock elements in favour of nods to blue-eyed soul, woozy dream-pop, cheery summery pop (see the radio hit in waiting "The Less I Know The Better"), and even the head-nodding rhythms of hip hop (which, incidentally, prove the perfect backing for the morphine pop wooziness of "Past Life"). It's a blend that re-casts the band as baked, inter-dimensional travellers with a neat line in enveloping, sun-kissed downtempo pop.
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