Guh! So, it’s Tuesday right? Apparently not. I’m doing Tuesday and Wednesday and Thursday’s work all today. And about a million other things. Anyway, I’m swamped, but some super duper rad records rolled into the shop this week so I hope you didn’t spend all your beans on the long weekend….
Oh ya, due to some anti-spam laws I should tell you, if you want to keep receiving this email, don’t do anything. If you don’t want to keep getting it, unsubscribe at the bottom.
…..picks of the week…..
Ben Frost: A U R O R A (Mute) LP/CD
Finally available! And as an added bonus to make up for the long wait, we’ve got the European limited coloured vinyl version! “A U R O R A is the highly anticipated fifth solo release from Ben Frost, his first since the widely acclaimed By The Throat in 2009. These lean, athletic visions seem to stand testament to a kind of survival – a proof of life. Muscular shapes maintained only to a level of functioning physical survival, of necessity, and no further; ﬁlthy, uncivilized, caked in sweat, and battery acid. Starved of all the adornments of its predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, A U R O R A offers a deﬁant new world of ﬁercely synthetic shapes and galactic interference, pummelling skins and pure metals. Performed by Frost with Greg Fox (ex-Liturgy), Shahzad Ismaily and Thor Harris (Swans) and largely written in Eastern DR Congo, A U R O R A aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force. This is no pristine vision of digital music; but an offering of interrupted future time, where emergency ﬂares illuminate ruined nightclubs and the faith of the danceﬂoor rests in a diesel-powered generator spewing forth its own extinction, eating rancid fuel so loudly it threatens to overrun the very music it is powering. And so, is the ongoing evolution of Frost’s music, conceived as equally the observer, as the catalyst in this music, and harbinger of the idea that so often we think of beauty when in fact we should be thinking of destruction. The result, mixed in Reykjavík with Bedroom Community head Valgeir Sigurðsson, is a machined musical surface, evolved and reﬁned, yet irrevocably damaged. Curiously, darkness is expelled to the muddy sedge and a confusing irradiant glow permeates A U R O R A, where everything once wounded, remains ﬁercely animate and luminescent with charged destruction.”
File Under: Ambient, Electronic, Metal, Iceland
Listen Here And Here
Drones: I See Seaweed (Bang) LP/CD
Bang! Records presents the new album from Australian rock legends The Drones. I See Seaweed is their best record to date and gathers all the complexity and greatness of the different sounds and faces of the band, led by Gareth Liddiard. Amazing lyrics fit perfectly with measured melodies, and each and every one of the five band members melt, creating a perfect sound. Intensity and sound explosions meet anxious quietness and tension. This is one of those records which grows with every listen, that you’ll never get tired of playing, over and over again. The Drones are touring Europe in June-July 2014 and Bang! Records is proud to release this masterpiece on CD.
File Under: Rock, Blues, Australia
Bixiga 70: Ocupai (Mais Um Discos) LP
Mais Um Discos are thrilled to provide the worldwide release of Bixiga 70’s Ocupai — a heart-stopping carnival of Afrobeat & Brazilian funk where Ethio-jazz, brass bands, polyrhythmic paeans, Bootsy Collins jams and Saharan grooves combine to produce a riotous joy of stomping rhythms and horns. Hailing from the Bixiga neighborhood in São Paulo, Ocupai sees the band build on the sound that saw their self-titled debut album top many Brazilian tastemakers’ best-of lists for 2011. They combine the obvious touch points of Fela Kuti (the band’s name tips a hat to the most famous incarnation of his band) and Tony Allen (with whom Mauricio Fleury from the band studied with) and bounce through boundaries to harvest textures of mandingo from Guinea and Mali, soukous from the Congo and Ethio-jazz — all the while pulling in threads from the pioneers who first caught their ear; Pedro Sorongo, Os Tincoãs, Gilberto Gil, João Donato, Baden Powell, Deodato, Orchestre Poly Rythmo, Miles Davis and Lee Perry. Having collaborated with Souljazz Orchestra, Criolo, Emicida and Banda Black Rio, the band have also shared the same stage as their heroes Antibalas, Ebo Taylor, Tony Allen, Gilberto Gil and Q-tip at the likes of Denmark’s Roskilde and Amsterdam’s Paradiso.
File Under: Afro-Beat, Brazilian, Ethio-Jazz, Funk
Boris: Noise (Sargent House) LP
Oh ya, I goofed last week, we now have the vinyl of this in too! Boris has always demolished expectations of what a band can do musically and aesthetically. In keeping with that tradition, they again flip the script for the band’s first official release in three years by serving up their most all-encompassing effort to date. Noise is an amplification of Boris’ endless pursuit of musical extremes while moving aggressive, intense rock into new territories. In writing Noise, Boris was intent upon condensing all that the band had explored over the years, in order to create something more bold, streamlined and powerful. And, upon completion, the band considers Noise its most defining effort, stating, “If we had to suggest just one album for those unfamiliar with Boris’ music, we will pick this for sure.” That’s a bold statement from a band having released over 20 albums covering a vast array of sounds. Yet somehow throughout the album’s 8 song, 58 minute duration, the band masterfully intermingles sludge-rock, blistering crust punk, shimmering shoegaze, epic thunderous doom, psychedelic melodies and just about everything else they’ve ever done. Over the course of Boris’ three previous Sargent House albums (Heavy Rocks, Attention Please and New Album) the band sought to expand its musical vision ever further. And, the results helped redefine the band’s already iconoclastic sound. However, in early 2013 they decided to return to their classic trio lineup moving forward: drummer/vocalist Atsuo, guitarist/vocalist Wata and bassist/guitarist/vocalist Takeshi. Having been able to explore many new ideas as a quartet in recent years, the band was concerned about logistics, until their very successful residency shows and tour in the U.S. convinced them that Boris could return to the simpler, solid trio without sacrificing artistic growth. Now, having rebuilt the classic trio’s ‘equilateral triangle’ they’re heavier, louder, more confident and incisive than ever before.
File Under: Metal, Japan
Circle Jerks: Wild in the Streets (Drastic Plastic) LP
The litany of SoCal hardcore classics continues at Drastic Plastic Records with the reissue of 1982’s Wild In The Streets, the sophomore full-length from influential underground Los Angeles hardcore punk band Circle Jerks featuring original Black Flag vocalist Keith Morris and former Red Kross and future Bad Religion guitarist Greg Hetson. Wild in the Streets is the Jerks in classic form: poignant, political, sarcastic and raunchy. To top it off the cover displays a gang of youths led by none other than Mike Ness of Social Distortion.
File Under: Punk, Hardcore
Circle Jerks: Golden Shower Of Hits (Drastic Plastic) LP
The litany of SoCal hardcore classics continues at Drastic Plastic Records with the reissue of 1983’s Golden Shower Of Hits, the third full-length from influential underground Los Angeles hardcore punk band Circle Jerks featuring original Black Flag vocalist Keith Morris and former Red Kross and future Bad Religion guitarist Greg Hetson. Golden Shower Of Hits is the last album to be recorded by the band’s original lineup and despite its title is neither a compilation nor home to any hits. Whereas its predecessor Wild in the Streets took a more sardonic and heavier tone, Golden Shower of Hits is unequivocal SoCal hardcore reveling in its most authentic, sincere, obnoxious, political, hilarious roots.
File Under: Punk, Hardcore
Jon Hassell: City: Works of Fiction (All Saints) LP
Combining his trademark brand of Fourth World fusion with new influences from the emerging hip-hop scene, this 1990 album is a landmark release in Jon Hassell’s career to date. Futuristic sci-fi funk with a completely melted production aesthetic – instruments and samples blur into one another in the manner of the best dub records. Presented here in a deluxe triple disc edition alongside a 1989 concert performance of the City group, mixed live by Brian Eno, and a carefully edited sequence of alternate takes, demos and reinterpretations by current electronic producers that presents a parallel dimension version of the original release. Remix artists include new Warp artist patten as well as 808 State, No UFOs, Bass Clef and Some Truths .The vinyl edition features the original album re-cut as a double album for extra wide grooves and improved bass response (the original issue had an hour of music squeezed onto a single piece of vinyl) and a download card with access to the audio content of all 3 discs.
File Under: Ambient, Jazz, ECM, Eno
Stephen David Heitkotter: Black Orchid (Now Again) LP/CD
Gatefold double LP version; includes a 16-page booklet and download code. “Deluxe reissue of the legendary ’70s California bedroom psychedelic album restored/remastered transfer and never-before-heard demos. ‘…banging garage downer LP from the twilight zone …raw & wasted.” – Paul Major. Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher’s reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade — to find out more about this Heitkotter, his music, his story. In the process, we’ve visited the house where this confounding album was recorded, found Heitkotter’s musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It’s safe to say the world has never heard something like Heitkotter — it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter — recorded in around 1971 and pressed in a run of less than twenty five copies – was the culmination of one Stephen David Heitkotter’s artistic career. Ross Dwelle, Stephen’s childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio ‘trying to play five songs written by a man losing his mind…probably stoned the whole time.’ Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it – is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as ‘outsider’ art. It’s a rare and vital look at 60s and 70s American rock through the sad story — and incredible music — of an untethered soul. And as we hope to show in enlightening more of Stephen’s backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen’s music is as close to the sublime as American rock has ever ventured.”
File Under: Psych, Blues, Fried
Jack Ruby: s/t (Feeding Tube) LP
“Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and — chuffed by the fact we’d name-checked the band in the book — some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band’s story continued to roll out. They’d actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They’d done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. ‘Hit and Run’ and ‘Mayonnaise’ are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That’s ‘Bored Stiff,’ ‘Bad Teeth,’ and ‘Sleep Cure.’ The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they’d evolved. The last one was in November ’77 at Max’s with Vivienne Dick’s then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless.” –Byron Coley; Edition of 600. Includes download code with purchase. Volume Two coming soon.
File Under: Punk, No Wave
Krampfhaft: Before We Leave (Rwina) LP
In the space of three years, Dutch producer Krampfhaft has established himself as one to watch with a small string of functional yet emotive dancefloor releases that have garnered support and acclaim from a broad range of contemporaries including The Gaslamp Killer, Om Unit, DJ Shadow and Kutmah. He returns to the Rwina label with Before We Leave, his debut album and most complete statement to date. Once more pulling from the twin roots of electronic/dance music and sound design that have defined his work to date, Krampfhaft sidesteps genre specific formulas on Before We Leave and instead rides a fine line between dancefloor and headspace. There are hard-hitting moments and ecstatic peaks, but these are carefully balanced with more introspective, melodic reflections designed to give the listener an experience that isn’t limited to the club. Before We Leave is just as driven by atmospheres and imagined sonic places as it is by the desire to make people dance. This juxtaposition of the dancefloor and headspace is reflected in the album’s tracklist and how the sixteen tracks flow across its length. “Superfluid” offers the first upbeat moment, solid drums against grinding synth melodies, but the accumulated energy of the track is instantly pulled back by “Frostbite,” as Krampfhaft plays with imperfections and bright, distant melodies to paint a sonic picture of slow deterioration across a sparse rhythm. The imperfections and noise found lodged throughout the album bring to mind a digital rot, as if the music was slowly unravelling in the hard drive of its maker. Tracks like “Dormant Code,” “Before We Leave,” “Mostly Empty Space,” “Unfold” and “Immensely Small” all sidestep any obvious genres, instead scraping away at imposed stylistic boundaries by subverting populist tropes and challenging the listener to embrace them for what they are. As a contrast to the album’s more reflective moments there are rays of hope, such as “Veluwe” and “Extrasolar,” with its low-slung drum pattern, uplifting melodies and manipulated sounds that evoke seagulls over washing waves. And there are also moments of darker contemplation, like “Clip Point,” where the all-encompassing weight of the bass drums is cut by a lead melody that buries itself in your subconscious. The energy of the dancefloor is celebrated on “Spinner” and “Toekan,” two tracks with clear intent that still manage to reference the album’s underlying idea of rot and distance from any established genre or scene. There’s a real magic to pulling off an album of dance/electronic music that isn’t obsessed with the dancefloor or instantly recognizable tropes, and this is precisely what Krampfhaft achieves with Before We Leave. Keen to not find himself trapped in the corner of a specific sound, he instead opts to paint a broad picture that treats the listener as more than just a body in the dance. At times hopeful and introspective and at other times dark and obsessive, Before We Leave is the sound of a producer in full control.
File Under: Electronic
OST: Dance of the Vampires (Harkit) LP
This is the first ever release of Polish Jazz legend Krzysztof Komeda’s score for Roman Polanski’s 1967 camp horror classic ‘Dance of the Vampires’. The music consists of terrifying choirs and rising and falling bass motif’s giving a generally chilling atmosphere. Yet it sometimes slides into really sweet spots, such as ‘Krolock on Sledge’ which is a pleasant oboe piece utilising the recurring melodic theme of the project.
File Under: OST, Horror OST, Classics
Ergo Phizmiz: Two Quartets (Discrepant) LP
Discrepant presents an album from UK-based radio producer, collagist, writer, composer, and filmmaker, Ergo Phizmiz. White label, hand-stamped, limited. Vinyl only. ”Imagine a machine where any material can be placed before you, and infinitely bent, squashed, stretched, rotated, inverted, repeated, depleted, converted, bastardized, beautified, mortified, twisted, shifted, and at no cost to the original material at hand. This original material, be it a piece of wood, or a piggy-bank, or a toaster, or a dog, can, at the whim of the operator, either be integrated into the mishmash of metamorphoses, or can sit from a distance and look on at all of his transformed clones. The digital sound editing environment, of all the achievements of computing, is the place where dreams can be given free rein. Any sound can be metamorphosed into any other. Anything can dance with anything else, in layer upon infinite layer, and the nature of the object itself can whirl and shift and change and play and do anything it bloody well wants to do. This is something I whiled away ten years playing with, until sound feels like a gelatinous gloop that can be formed between the hands. But then my fingers became sticky. And the only solution to sticky fingers, of course, is to clean them. Consequently, the computer has become like a slightly removed acquaintance cum employee. And, for better or worse, every return I make to the digital music environment becomes overcome with theory, or at least, limitations. The collages included here as ‘Two Quartets’ are explorations of the pure interaction of four different pieces of music, without any interference as to the nature of the sounds — nothing has been digitally manipulated. The focus is purely on editing — both of a technical-musical nature, and games of chance, throwing different materials together in space-and-time and seeing how they party.” –Ergo Phizmiz
File Under: Experimental, Collage
Pink Floyd: Division Bell (Parlophone) LP
In celebration of the 20th anniversary of Pink Floyd’s 1994 release The Division Bell, the band is reissuing the album on double 180g vinyl (originally edited to fit on a single LP) remastered from the original analogue tapes by Doug Sax at The Mastering Lab and with new gatefold artwork by Hipgnosis/StormStudios. The multi-million selling Division Bell includes the Grammy Award winning track “Marooned” and was Pink Floyd’s last studio album to be released by the band: David Gilmour, Nick Mason and Richard Wright. The Division Bell debuted at No. 1 in the UK and in the US, staying at the top of the US charts for 4 weeks; it also went to No. 1 in eight other countries and, to date, has reached total album sales of over 12 million. The Division Bell was recorded by the band at Astoria and Britannia Row Studios with the majority of the lyrics being written by Polly Samson and David Gilmour. Bob Ezrin and David Gilmour produced the original album, with orchestral arrangements by the late Michael Kamen.
File Under: Classic Rock, Reissues
Roots: And Then You Shoot Your Cousin (Def Jam) LP
From Philly street corner buskers to hip-hop pioneers to perpetually touring live act to late-night television house band, legendary hip-hop group, The Roots, have never been one to rest on their laurels. After more than 15 years, the critically-acclaimed, award-winning band continues to reinvent themselves and remains one of music’s most enduring and forward-thinking groups. The Grammy award-winning band returns with their 11th album, …and then you shoot your cousin.
File Under: Hip Hop
Thomas Edisun’s Electric Lightbulb Band: The Red Day Album (Guerssen) LP+7″
One of the most exciting finds in recent years is the previously-unreleased album from 1967 by this obscure U.S. psychedelic band, recorded around the same time of their ultra-rare Common Attitude 45, (famous for appearing on the Alien, Psychos & Wild Things comp). Led by the great Richard Orange, Thomas Edisun played Beatlesque, psychedelic pop/proto power-pop of the highest order with amazing songs and incredible harmony vocals. In 1967, just after Sgt. Pepper had come out, the band decided to register their own psychedelic masterpiece, so they entered a rudimentary studio and recorded a whole album during a weekend, under the influence of “smoking” and “mind-altering” substances . The album was never released, the tapes were stored in attics and basements, and the band broke up with some of their members forming cult power-pop band Zuider Zee. The Red Day Album ranges from pure Emitt Rhodes-Macca pop to Forever Amber/Lazy Smoke-styled lo-fi pop-sike and almost early Caravan keyboard freak-outs. Remastered sound from the original tapes. Includes an insert with photos and detailed liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost). Includes a 7″ repro of their rare Common Attitude/No One’s Been Here for Weeks 45
File Under: Psych, Raers, Powerpop
Various: Eccentric Soul: Capital City Soul (Numero) LP/CD
Fifty records later, The Numero Group returns to its eccentric roots, Ohio’s Capitol City and the sonorous Shangri-La carved out by the indefatigable Bill Moss. Filling in, around, and on top of our original The Capsoul Label collection, Capitol City Soul is a trove of completely unissued and underissued treasures from Moss and company. A decade in the making, this is the set of soul discoveries that no one but The Numero Group could achieve. Features otherwise unreleased songs from the Kool Blues, the Four Mints, Jupiter’s Release, and Love Maximum, alongside rare sides by Dean Francis & the Soul Rockers, the Chandlers, Associated Press, the Soul Partners, and the Vondors. From the vaults under the basements under the garages of one of the nation’s most unsung music scenes. This double LP set is ensconced in a thick tip-on gatefold jacket splashed with a colorful spread of vivid archival imagery accumulated over a decade of research into the Columbus, Ohio culture. The liner notes serve as an in-depth history of Columbus soul music, linking The Capsoul Label with The Prix Label and Norman Whiteside’s Wee project (recently sampled by Kanye West). A strong addition to the already epic Eccentric Soul series from The Numero Group.
File Under: Soul, Funk
Various: Role: New Sounds Of Brazil (Mais Um Discos) 2CD
SALE PRICED IN OUR LISTENING POST! Having established itself as the go-to label for discovering the real sounds of contemporary Brazil with the acclaimed compilations Oi! A Nova Musica Brasileira and Daora: Underground Sounds of Urban Brazil, Mais Um Discos returns with a new compilation of the freshest tunes from the bars, clubs, venues and streets of the nation the world’s eyes are all on. “Rolê” translates as “let’s roll” in Brazilian Portuguese and Mais Um Discos’ label-head Lewis Robinson (aka Mais Um Gringo — “one more gringo”) rolled around 10 Brazilian states including Rio de Janeiro, Bahia, Amazonas, Rio Grande do Sul, São Paulo, Minas Gerais, Brasília, Pernambuco, Pará and Santa Catarina to pull together these 43 tracks. CD1: Disc Um shows 22 very different artists defining their own styles and defying any stereotypes of Brazilian music — from the dub-tronics of the innovative Lucas Santtana to the angry indie-rock of Apanhador Só, Madame Rrose Selavy’s “bossa-punk,” Graveola’s “carnival-cannibalism” and the funky-frevo of Juliana Perdigão. CD2: Disc Dois heads into the club, showcasing the new wave of post Baile-funk Brazilian dance music — the cutting-edge axé bass beats of Som Peba, techno-lamabda of Strobo and electro-treme of Gang Do Eletro. A nod to the old school comes from Lia Sophia, who offers up a slinky slice of nova-brega, Zulumbi with their rousing hip-hop funk, Dona Onete, who introduces us to the sound of carimbo-chamegado, Meta Meta, joined by Tony Allen for some Afro-punk-beat, and Bixiga 70, who drop a heavyweight slice of guitarrada-Latin-funk. All the artists featured mix Brazilian and “international” styles to create progressive new Brazilian music that shatters stereotypes and shows that the Brazilian music scene is as diverse and exciting as that of the UK or U.S.
File Under: Brazilian, Bossanova, Punk, Dub, Funk
Various: Savage Rhythm (Stag-o-Lee) CD
SALE PRICED IN OUR LISTENING POST! New musical styles don’t appear overnight. Rock and roll didn’t explode out of a vacuum and Elvis wasn’t the Big Bang (more like the start of rapid inflationary expansion). Before Elvis, there was a massively diverse R&B scene in the States, which today’s record buyer is currently enjoying the discovery of through a wealth of compilations and reissue 7″s. In turn, this music was a development of the sound that came before it, with many of the key players having been instrumental in the swing bands of the ’30s and early ’40s. Savage Rhythm is a compilation of this fantastic music, documenting the direct lineage from the jazz and swing of the ’30s through to a more R&B-ready sound of the early ’40s, signposting the way ahead for what was to become jump blues and eventually rock and roll. Compiled by Brighton (UK) DJ, music-lover and vinyl junkie Shamblin Sexton, Savage Rhythm is put together to make the party swing hard. As much a ticket to the good times as a history lesson, Savage Rhythm delivers both with urbane style and swagger. With original artwork by graphic designer Chris Sick, this compilation will be a must-have for the vintage kids & R&B heads, as well as the electro-swing DJs and club-goers. Savage Rhythm swings a hefty punch of serious, quality music that is as vibrant and essentially vital today as it was 75 years ago.
File Under: Jazz, R&B, Swing, Early Rock
Various: Traces Three (Recollection GRM) LP
Recollection GRM, a label within the Editions Mego family of labels, offers a third selection from the vast archives of Groupe De Recherches Musicales (GRM). The main idea behind the Traces series is to excavate short, forgotten or ignored pieces of music from the GRM Archives. This third volume, gathering pieces from before 1980, features the works of four composers from very different geographical and musical backgrounds. In addition to echoing the extraordinary vitality of musical experiments from a bygone era, Traces aims to give some audibility to music pieces which, in some instances, are being released for the very first time.
File Under: Early Electronic, GRM, Avant Garde
Various: Tropical Disco Hustle (Cultures of Soul) LP
“It seems like no part of the world has evaded disco’s ubiquitous in sequence, including the Caribbean. The Caribbean in the late ’70s and early ’80s was a hotbed of musical activity and this compilation focuses on the best disco-in uenced tracks from Trinidad and Tobago, Jamaica, and the Bahamas. All of the tracks here were o cially licensed and reissued for the rst time ever. Highlights of the 13 tracks included on this compilation are: the under-the-radar cosmic disco tune ”Got To Have You’ by Joanne Wilson, a rare P&P Records-in uenced track ‘Dance With Me’ by Odessey One, the icy cool synth-trenched ‘Living On A String’ by Wild Fire, the incredible dance oor-friendly ‘Instant Funk’ by Merchant, and the disco reggae cover of ‘Rapper’s Delight’ by Prince Blackman. This compilation was compiled and researched by Deano Sounds and includes edits by Al Kent, the Whiskey Barons, and Waxist Selecta.”
File Under: Disco, Caribbean
Antlers: Familiars (Anti) LP
Arcade Fire: Funeral (Merge) LP
Black Sabbath: Paranoid (Rhino) LP
Captain Beefheart: Safe As Milk (Sundazed) LP
Bremen: Second Launch (Blackest Ever Black) LP
Betty Davis: This is it?! (Vampisoul) LP
Mac Demarco: Rock N Roll Night Club (Captured Tracks) LP
Ned Doheny: Separate Oceans (Numero) CD
Drive Like Jehu: s/t (Hedhunter) LP
Drive Like Jehu: Yank Crime (Hedhunter) LP
Frank n Dank: 48 Hours (Delicious Vinyl) LP
Genius/Gza: Liquid Swords (Get On Down) LP
Goat: World Music (Rocket) LP
Dexter Gordon: Go (Blue Note) LP
GusGus: Mexico (Kompakt) LP
Howlin’ Wolf: Album (Get On Down) LP
Jawbox: For Your Own Special Sweetheart (Desoto) LP
Sharon Jones: 100 Days 100 Nights (Daptone) LP
Sharon Jones: I Learned the Hard Way (Daptone) LP
Sharon Jones: Naturally (Daptone) LP
Sharon Jones: Soul Time (Daptone) LP
Led Zeppelin: III (Atlantic) LP
Mars Volta: Deloused in the Comatorium (Music on Vinyl) LP
Mars Volta: Amputechture (Music on Vinyl) LP
Cliff Martinez: Solaris (Invada) LP
MF Doom: Special Herbs 1 & 2 (Nature Sounds) LP
Lee Morgan: Cornbread (Blue Note) LP
Ol’ Dirty Bastard: Return to 36 (Get On Down) LP
Sunn o))) & Ulver: Terrestrials (Southern Lord) LP
Tame Impala: Innerspeaker (Modular) LP
Jack White: Blunderbus (Thirdman) LP
Witch: s/t (Teepee) LP
Various: 1970s Algerian Folk & Pop (Sublime Frequencies) LP
Various: African Scream Contest (Analog Africa) LP
Various: Forge Your Own Chains (Now Again) LP
Various: True Soul (Now Again) LP/CD