Archive | février, 2012

je me souviens du label ROBS RECORDS de ROB GRETTON, manager de Joy Division et New Order. Il était également membre fondateur associé chez Factory Records, propriétaire du label Rob’s Records et l’un des co-fondateurs de l’Haçienda

28 Fév

Robs Records was the dance-tinged record label side project of the late Rob Gretton, the ex-manager of Joy Division and then New Order. It was run out of an address right next to Fac 51 The Hacienda, the club Rob had been instrumental in establishing. New artists such as the Beat Club, Mr Scruff and Sub Sub (who would later become Doves) were quickly signed up.
Robs also became the home for ex-Factory label industrial funksters A Certain Ratio (who released some of their best work during this time). In later years the subsidiary labels Pleasure Records and Manchester Records were established. Sadly Rob died in May 1999 and there were very few releases after this time.(source cerysmaticfactory)


le label de QUINTON SCOTT STRUT RECORDS POUR L’europe et KNITTING FACTORY pour les usa publie un live de Fela Anikulapo Kuti ,a paraitre le 8 mai

28 Fév

What more could there possibly be to say about Fela Kuti? For many of us, Kuti’s music has been the primary entry point to the incredibly fertile terrain of hybrid African music. But aside from the obvious honor of having the privilege of releasing some of the first unheard Fela recordings in over twenty years, the fact that these recordings even exist in the first place is something of a marvel.

In 1984, Fela Kuti had planned to leave Nigeria to tour abroad, but was arrested and imprisoned on dubious charges of “currency trafficking,” preventing him from leaving the country. It took two years, and efforts from Amnesty International before Fela once again was able to share his music with the world. The music featured on this album was recorded the year of his release, live at the Fox Theater in Detroit.

The songs featured here, the shortest clocking in at 29 minutes and 35 seconds, aren’t among Fela’s best known compositions, though they did feature on studio albums with the Egypt 80 band. It’s in these unbridled live performances though that the material truly comes alive, complete with audience interaction, the incredible musicianship of the band, and Kuti’s inimitable vocal stylings. It’s evident that the audience as completely entranced.

Fela Kuti – Live In Detroit is a document of one of the greatest performers of the 20th Century, and we’re honored to be able to share it with you. The album will be released on Strut on May 8th on Strut Records internationally, and via our friends at Knitting Factory in the US. The Strut release will be a double CD / four vinyl / digital format.(source strut records)

01. JUST LIKE THAT 29.35


Fela Anikulapo Kuti (Fela Ransome Kuti, Abeokuta, Nigeria, 1938-1997)

BIXIGA 70 ,j’aime ce groupe bresilien basé a SAO PAULO,en particulier leur cover Desengano da Vista de l’immence PEDRO SANTOS

28 Fév

BIXIGA 70 (2011)

01. Grito de Paz (Mauricio Fleury / Ben Lamar) 04’26”
02. Luz Vermelha (Mauricio Fleury) 04’26”
03. Tema di Malaika (Mauricio Fleury) 04’07”
04. Mancaleone (Marcelo Dworecki / Kika) 04’58”
05. Zambo Beat (Décio 7 / Kika) 06’16”
06. Balboa da Silva – homenagem a Nilson Garrido (Cris Scabello) 04’19”
07. Desengano da Vista (Pedro Santos – EMI) 06’45”
08. Balboa Dub (Victor Rice / Bixiga 70) 04’25
09. Dub di Malaika (Victor Rice / Bixiga 70) 02’53 »
10. Dub Vermelho (Victor Rice / Bixiga 70) 05’02 »
Tempo Total 47’40 »

Décio 7 – bateria;
Marcelo Dworecki – baixo;
Cris Scabello – guitarra;
Mauricio Fleury – teclado e guitarra;
Rômulo Nardes – percussão;
Gustavo Cecci – percussão;
Cuca Ferreira – sax barítono e flautim;
Daniel Nogueira – sax tenor;
Douglas Antunes – trombone;
Daniel Gralha – trompete.

voici l’original: de Pedro Santos l’album Krishnanda (1968) sans doute mon disque de musique made in brasil préféré

L’oreille aiguisée volume 17

25 Fév

Gravenhurst: The Ghost In Daylight a paraitre sur WARP le 1er mai

25 Fév


01 – Circadian
02 – The Prize
03 – Fitzrovia
04 – In Miniature
05 – (Carousel Interlude)
06 – Islands
07 – The Foundry
08 – Peacock
09 – The Ghost of Saint Paul
10 – Three Fires

‘the ghost in daylight’ is gravenhurst’s fourth full length album for warp records. gravenhurst is the work of songwriter, multi-instrumentalist and producer nick talbot from bristol, england. ‘the ghost in daylight’ is his most sonically diverse work yet, with starkly acoustic songs resting alongside densely layered pieces constructed from mellotrons, optigans and antique synthesizers. lead single ‘the prize’ is a dark meditation on recurring gravenhurst themes of compulsion, degradation and the possibility of transcendence, and contains some of nick’s finest lyrics to date: « as the house lights turn / reveal cigarette burns and the tide line / of last night’s cries of despair / that emanate from the underpass and echo back to anywhere / still the ties that bind us blind us to the emptiness of the prize ». but this atmosphere of menace is offset by a sublime vocal melody, soaring harmonies and swelling, majestic strings. ‘so far i’ve eschewed all use of string sections as they seem a cheap short-cut to emotionally manipulating the listener; ‘here’s a sad song, use a cello’. it can end up sounding pompous instead of epic. with ‘the prize’ i feel i’ve written something that can pull it off’. over the course of six startling and critically acclaimed albums, nick talbot has developed and retained a unique identity across multiple genres. « i like the idea of listening to gravenhurst as being to some degree an active rather than passive experience. the songs offer clues and form maps to a place that is partly given, and partly open to the listener to construct as they wish(source rough trade)

aprés MISSISSIPPI RECORDS,le label IMPORTANT RECORDS se penche sur le cas Abdul Karim Khan

23 Fév

« Ustad Abdul Karim Khan’s recording of the composition ‘Jamuna ke tir’ in Raga Bhairavi stands as one of the great masterpieces of music. When I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my life. »
– La Monte Young, 2004

« If there is any real trace of miracle, of phenomena, of wonder, it is the voice. »
– Hazrat Inayat Khan, 1926

More than seventy years since his death in 1937, Ustad Abdul Karim Khan
retains his reputation as one of the greatest singers India ever
produced. Possessed of an elastic, honied voice that poured out like
mercury, he influenced generations of singers including Mohammed Rafi,
Pandit Bhimsen Joshi, and Pandit Pran Nath. Born at the end of the
19th century to a family of musicians that extended back in time for
centuries, his art was formed in the culture of the courts of the
maharajas under British colonialism but was changed by his genius and
imagination and a life marked by sacrifices for love, unsatisfied
ambition, abandonment and heartbreak. These performances were culled
from sessions made during his peak final years 1934-35, newly
transferred and restored and with extensive notes by Ian Nagoski.

(source important records)

Gujri Todi: Beguna guna ga (drut)
Jhinjhoti thumri: Piya bin nahin avata chain (adatal)
Gujri Todi tarana: Dim Dara Dir Dir
Basant khyal: Ab maine man dekheri (ektal)
Basant khyal jalad: Phagava brija dekhana ko chalori (tintal)
Bilawal: Pyara nazara nahin
Gara thumri: Jadu bhareli kaun albeli
Anand Bhairavi: Uigicha ka kanta ganjila
Bhairavi thumri: Jamuna ke tira kanha (adantal)
Sindhi Kafi: Nach sundari karun kopa (ektal)

les archives de la bibliothéque du congres d’ALAN LOMAX le très célèbre ethnomusicologue, folkloriste, musicologue et collecteur de musiques americain desormais disponible via le net,voir le lien en bas d’article,sinon pour les fans de support physique comme moi,je vous recommande chaudement de faire un tour du coté du label MISSISSIPPI RECORDS

23 Fév

une partie des archives d’ALAN LOMAX en ligne ici


21 Fév

le 26 mars sortira sur soundway records un album rare du ghanéen ROB,un artiste redécouvert il y plus de 1 an deja grace au label ANALOG AFRICA

21 Fév

ROB was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz and over the years we have been asked many times to re-issue the LP in it’s entirety. A stranger, slower offering than his more dancefloor funk-laden and Spartan first LP, this record sees ROB in similar territory but with the tempo switched down and the introspection turned up.

ROB’s trademark horns dominate and are supplied by the Mag-2, an army band founded by leader Amponsah Rockson, who named it after the army unit the band played for – the “magnificent” second battalion. In 1977, Rob traveled to the coastal town of Takoradi in search of Mag-2, which had an entire section of its line-up dedicated to horns, with the intension of laying out his proposal to them. Luckily for Rob, the band took him up on it.

With religious overtones and a broody, slightly off-key atmosphere at points it’s certainly one of the stranger afro-funk records to come out of West Africa but with tracks like Loose up Yourself and Make it Fast, Make it Slow he nails it for sure.(source soundway records)

12″ Vinyl Album (SNDWLP040)
1.Rob – Loose Up Yourself
2.Rob – Make It Fast, Make It Slow
3.Rob – Not The End
4.Rob – I’ve Got To See You Again, Lord
5.Rob – He Shall Live In You
6.Rob – But You
7.Rob – Bargain
8.Rob – Back On You
CD Album (SNDWCD040)
1.Rob – Loose Up Yourself
2.Rob – Make It Fast, Make It Slow
3.Rob – Not The End
4.Rob – I’ve Got To See You Again, Lord
5.Rob – He Shall Live In You
6.Rob – But You
7.Rob – Bargain
8.Rob – Back On You

Way Of The Samuraï

14 Fév

Release date: March 27, 2012

Quakers is a hip-hop collective boasting 35 members which orbits around a core of three producers: Fuzzface, 7-Stu-7 and Katalyst.

Fuzzface is better known as Portishead’s Geoff Barrow, a long-time Stones Throw supporter in touch with Peanut Butter Wolf since championing the Jaylib album back in 2004. 7-Stu-7 is Portishead’s engineer and in-house producer at Invada Records in the UK. Katalyst is one of the most respected producers in Australia and a partner in Invada Records.

Disillusioned with much of the hip-hop around them, the like-minded producers set out to create the type of rap record they’d want to listen to. That meant gathering one of the most varied arrays of talent ever seen on a hip-hop record. Rather than just sending beats to the hottest names of the moment, the producers sought out genuine collaborators, regardless of whether they were legendary or simply stumbled upon around the world wide web. Invitations were sent out to golden era legends such as Prince Po and The Pharcyde’s Booty Brown, indie rap titans such as Dead Prez and Phat Kat, and of course some of StonesThrow’s finest: Aloe Blacc, Guilty Simpson, MED and newest signings Jonwayne and Dave Dub all make memorable contributions. There are also some lesser known talents present: band-favorite Coin Locker Kid, Lyric Jones, Estee Nack & more hold it down with their more celebrated peers.

Yet for all the vocal talent, it’s often Quakers’ stellar production that takes center stage, tying together the albums 40+ tracks into a cohesive whole. Heavy beats come thick and fast, from the horn-heavy stomp of “Fitta Happier” to the devastating synthesizer abuse of “Belly of the Beast” and beyond.

Quakers music first appeared in Banksy’s 2011 film Exit Through The Gift Shop and, in case you’re wondering, the name comes from ‘earthquake’. They’re here to shake the foundations.(SOURCE STONES TROW RECORDS)