Archive | avril, 2012

le label allemand SHADOKS avais déjà réédité en 2007 et 2008 deux vinyles du groupe afro rock zambien WITCH,Egon Alapatt via son label NOW AGAIN enfonce le clou,et annonce la sortie prochaine d’un coffret d’exception de six vinyles 100 pour cents ZAMROCK

27 Avr


The complete works of Zambia’s legendary garage-, psych-, prog-, funk-,afro-rock ensemble. 1972-1977: WITCH’s five albums and rare 7” tracks presented as a 4 CD and 6LP box set. Restored and remastered from the original tapes. Out 05.22.12.

WITCH is the best known Zamrock ensemble – they succeeded in releasing five albums in Zamrock’s 70s heyday. Although there have been two previous WITCH reissues by the Shadoks company, this 4 CD/6LP box set marks the first time that their entire catalog – including rare, 7″-only tracks, all restored and remastered from the original tapes – has been available outside of Zambia.

WITCH’s first two, self-produced albums – Introduction and In The Past, released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Their third album, Lazy Bones!!, is the band’s masterpiece – a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk. The band’s last two albums – Lukombo Vibes and Including Janet, recorded after the band toured with Osibisa – make use of traditional Zambian rhythms and folk melodies. They are the most “afro-rock” of WITCH’s oeuvre.

These 54 rare and unreleased songs are presented as a 10″ x 6″ hardbound 4 CD box set with a 24 page booklet and as 6 LPs – each with the original cover art – housed in a slipcase box with a 16 page booklet. The 6 LP box set is limited to 1000 pieces. More photos of each format, and a download of the restored master of WITCH’s “Introduction,” are below.

ICI DÉJÀ QUELQUES VIDÉO



Publicités

une compilation a paraître le 29 mai sur label de San Francisco Tompkins Square rend hommage au songwriter MICHAEL CHAPMAN

27 Avr

Michael Chapman began his career on the Cornish folk circuit in 1967. Signed to the Harvest label, home to Pink Floyd and Deep Purple, he recorded four quasi-legendary albums. The influential ‘Fully Qualified Survivor’ was John Peel’s favorite record of 1970, and featured future Bowie collaborator Mick Ronson. After decades of recording and touring, Chapman remained an obscure figure in the States until his profile was raised by a lengthy 2009 interview with big fan Thurston Moore in Fretboard Journal. He toured extensively with the late guitarist Jack Rose, and more recently, with Bill Callahan. Seattle-based indie label Light in the Attic began a reissue campaign of his Harvest work, and Tompkins Square released the internationally acclaimed double disc, ‘Trainsong : Guitar Compositions, 1967-2010‘.

All this has brought newfound attention to a singular guitarist and songwriter.

‘Oh Michael, Look What You’ve Done : Friends Play Michael Chapman’, compiled by Michael’s wife Andru and Tompkins Square’s Josh Rosenthal, features artists who have shared a stage with Michael, or share a personal connection. These include some of his contemporaries like Bridget St. John, Maddy Prior, and longtime cohort Rick Kemp (Steeleye Span), as well as young guns inspired by Michael’s legacy.(source label tompkins square)

Track listing :

1. Black Twig Pickers – Life on the Ceiling
2. D. Charles Speer – Expressway in the Rain
3. Lucinda Williams – That Time of Night
4. Thurston Moore – It Didn’t Work Out
5. Meg Baird – No Song To Sing
6. Maddy Prior – The Prospector
7. Hiss Golden Messenger – Fennario
8. Rick Kemp – Vanity and Pride
9. Two Wings – You Say
10. Nick Jonah Davis – Little Molly’s Dream
11. Bridget St. John – Rabbit Hills
12. William Tyler – Naked Ladies and Electric Ragtime

Eccentric Soul: A RGB Production a paraître le 22 mai sur le label de Chicago numéro group

26 Avr

Shrine Records, founded by Berry Gordy’s ex-wife Raynoma and his ex-employee Eddie Singleton, was the District of Columbia’s own attempt to stare down the mighty Motown. But after the destruction of the label during the riots following Martin Luther King Jr’s assassination, D.C. soul music never fully recovered. Raynoma and Eddie Singleton’s go-to outside engineer Robert Jose Williams wouldn’t be the only entrepreneur who picked up the torch, but it’s hard to argue that anyone produced better soul music inside the Beltway during the 1970s.

While not manning knobs and faders for Gil Scott-Heron, Hugh Masekela and a host of major label also-rans at Edgewood Studios – the capital’s most opulent recording facility – Williams worked off-hours at his own scrappy headquarters—the basement of his parents’ suburban Silver Springs’ home on Octagon Road. Out of those cramped quarters came the underground sounds collected here.

Red, Black, and Green Productions is the story of a well-connected engineer whose cabal of Beltway talent surreptitiously produced the finest soul music coming out of D.C. during the midsection of the 1970s. Its flag flown fully behind the scenes, the company name never graced an actual label. But 40 years on, inquiring minds would collect fine- print references to Red, Black, and Green from a scattering of regional releases on labels large and small, finally connecting the boldly coloured dots.

No true RBG record label to run meant no stock to manage, no promos to mail out, no disc jockeys to bribe…but it also made for tenuous control of the music’s destiny. Much of what Williams produced went unreleased, despite the indisputably high quality of all his recordings. The artists collected here represent the best that 1970s Washington, D.C., had to offer. Skip Mahoaney & the Casuals were an RBG success story, springing from local release purgatory onto a major label. Dyson’s Faces launched the career of small-time legend Clifton Dyson, whose recording and performing career took him through three decades. Father’s Children scored a one-shot Mercury deal eight long years after their RBG recordings (and a Numero reissues of their RBG productions in 2011). And East Coast Connection, Promise, and the Summits all managed to eke out a single or two, none of them distributed beyond District limits. The Exceptions never saw release at all, though a few members formed the current incarnation of The Moments.

Eccentric Soul has made a mission of shining light upon the darkest corners of the 1960s and 1970s independent soul music explosion in the US. With Red, Black, and Green Productions, Numero’s flagship series delves past the record label veneer and dives into a deeper well of sound reverberating out of the political capital of the planet.

Warmly,
Rob Sevier(boss du label numero group)

ici on écoute déjà trois pépites figurant sur cette superbe compilation:


JAZZMAN Records réédite une perle spiritual jazz quasi introuvable,l’original étant hors de prix , négociable environ $519.00 USD sur le net en 2011,pressage original (Aditi Records, 1975, USA)

25 Avr


‘A great deal of creative energy has gone into the making of this LP. Which somehow illustrates what a very wise one once said, “If you want anything done right, do it yourself” and that is “THE NAKED TRUTH”.’ – Owen Marshall, 1975

ABOUT THIS ALBUM

Every once in a while, a record presents itself so defiant in its refusal of categorisation that it becomes the bane of those poor vinyl archaeologists whose business it is to file and classify. The aptly named ‘The Naked Truth’ is one such artifact; a wayfaring stray of an album that weaves its insouciant magic through the edgelands of sound. The musical provenance is palpable – an electric blend of spiritual jazz, rhythmic black psychedelia and far-out exotica – but where it’s headed remains a mystery, echoing shapes so strange that they fit no musical crevice. This is an album whose grooves are slow and deep, with a languid, balmy, and irresistibly pensive aura. It’s moody: cosmic abstractions ooze from every sweet inflection, lulling arpeggios lose themselves in a haze of forgetfulness.

The late Owen Marshall and his band run wild over this record, and their experiments with sound are compelling, occasionally bizarre, and chock full of strange paradoxes. So much of what can be heard here is playful, free, imbued with a sense of wonder and pure joy usually ascribed to that most natural genius of the imagination – the child. And yet there is a knowingness at work here – a certain subdued polish tempering these otherwise passionate excursions. The full force of this can be seen in Marshall’s use of instruments; among the saxophone, the synth, the percussion, and the electric piano, you will hear the ‘Hose-a-phone’, the ‘Tube-phone’, ‘Ply-tar’, and ‘Boonet’. These are instruments that Owen built himself – in order, he said, to enable him to ‘tap the very depths of his creative resources…to make music fun to play, and entertaining to listen to’.

This is a private press album that begs to be public. ‘The Naked Truth’ is an album that wants to be listened to, it wants to be heard and take your hand and lead you far, far away – it wants to wander with you deep into the woods of imagination, just as Owen himself must have done all those years ago.

· All tracks fully licensed and digitally restored from the original master tapes

· Original liner notes written with the assistance of the Marshall family

· BONUS 7” Jazzman single included with the LP

· Extremely rare private press spaced-out spiritual jazz funk LP that changes hands for well over $1000!

· RARE and FINE music heard only on Jazzman – all because WE DIG DEEPER!

Sitar Beat! Indian Style Heavy Funk Vol. 1 et 2 sur le label Guerilla Reissues

25 Avr








MR PERSÉVÉRANCE CHEZ TRICATEL ,Et pour écouter tout cela, il suffit de cliquer sur le lien sous la photo, bonne écoute

23 Avr



http://assets.mixpod.com/swf/mp3/mixpod.swf?myid=88684764&path=2012/04/23
MusicPlaylistView Profile
Create a MySpace Playlist at MixPod.com

un beau coffret de 45t du label Stax Records,une réédition light in the attic records

23 Avr

Stax Records was black and white coming together in a pioneering integrated music enterprise. Native Tennessean Jim Stewart founded Satellite in the late 1950s but soon joined up with sister Estelle Axton and rechristened the label Stax Records (the “St” and “ax” of Stax respectively). This ever-evolving Memphis-based label became one of the landmark touchstones of soul, R&B, and funk throughout the 1960s and 70s, its finger snapping logo brand synonymous with sonic quality and heartfelt integrity. Releasing hundreds of long players and 45-rpm singles during its heyday, the imprint and its many subsidiaries also birthed the legendary careers of Booker T & The M.G.’s, Otis Redding, and Isaac Hayes.

Never To Be Forgotten: The Flip Side Of Stax 1968-1974 is Light In The Attic’s Record Store Day 2012 love letter to some of the lesser-known Stax Records artists, collected and presented in a knock-out 7” vinyl box set. Containing 10 faithfully reproduced 45-rpm singles from Mable John, Bernie Hayes, Lee Sain, Melvin Van Peebles, Roy Lee Johnson & The Villagers, and John Gary Williams, in addition to label stalwarts Johnnie Taylor, Mad Lads, Emotions, and Rufus Thomas, prepare to move, groove, and be enthused. Never To Be Forgotten comes housed in a beautiful flip-top container case replete with an extensive 84-page bounded booklet brimming with informative interviews with the surviving musicians contained within and liner notes by Memphis writer Andria Lisle, candid photographs, and personal anecdotes from Stax enthusiasts and label veterans Stewart, co-owner Al Bell, and promotions manager Phillip Rauls. Plus, a free Download Card for those turntable-less moments.

While Stax met a dramatic and disappointing fate in a tangled web of business, politics and finance in 1975, its enduring legacy shines on as one of the all-time great record labels. If industry competitor Motown billed itself as “The Sound Of Young America,” then Stax certainly earned each and every letter of its namesake “Soulsville U.S.A.” Though both labels brought black music to the United States and the rest of the world, Stax’s underdog status combined with a deep catalogue of the most life affirming and authentic sounds around shall retain a special place in our hearts, never to be forgotten.(source light in the attic records

my favorite album of the label Stax Records:

David Porter – Victim Of The Joke?….An Opera
paru en 1971 chez Enterprise Records une division de STAX RECORDS