Archive | février, 2018


28 Fév


VINYL RECORD OF MY LIFE 55 : Graeme Jefferies ‎– Messages For The Cakekitchen (Flying Nun Records ‎in 1987)

27 Fév

ANNASSOUA JAZZ DE PARAKOU – un temps avec elle (discafric 1969)

27 Fév

VINYL RECORD OF MY LIFE 54 : Coulibaly Tidiani ‎– Coulibaly Tidiani (Sacodis in 1973)

27 Fév


Blueboy ‎– The Bank Of England (Shinkansen Recordings in 1998 and for the first time in vinyl in 2018 by A COLOURFUL STORM records)

26 Fév

« You’ve got to listen to this band, you’ll really like them, I know. » A Colourful Storm presents the first-time vinyl issue of Blueboy‘s The Bank Of England, originally released in 1998. The group of Paul StewartKeith GirdlerCath CloseIan Gardner, and James Neville are Sarah Records royalty alongside The Field MiceHeavenlyThe Wake, and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of ’90s indie-pop and DIY. One of the true treasures of modern pop music. Mastered from the original recording tapes with assistance from Sarah Records and Shinkansen Records’ own Matt Haynes



AFRICAN PEARLS VOL 1 (selected by Alexandre Persévérance)

26 Fév

listening here :


Supreme Dicks ‎– This Is Not A Dick E.P. (runt records in 1996)

18 Fév

SARAVAH, c’est où l’horizon ? 1967-1977 par Benjamin Barouh (chez le mot et le reste et Disponible en librairie le 15 mars 2018)

15 Fév

Nées en 1966 de la complicité de Pierre Barouh, Francis Lai et Claude Lelouch, les éditions Saravah deviennent dès 1968, via leur label et studio installés à Montmartre dans le passage des Abbesses, un véritable vivier d’expérimentations et de rencontres : celles de Jacques Higelin et Areski, Brigitte Fontaine et l’Art Ensemble Of Chicago, ou encore celle du brésilien Nana Vasconcelos avec le gabonnais Pierre Akendengue et le guitariste folk Jack Treese… Benjamin Barouh, né en 1970, a contemplé l’intense activité et les mutations du studio des Abbesses. Pour combler les lacunes, éclairer les zones d’ombre, il a interrogé les artistes, musiciens, techniciens et collaborateurs qui l’ont connu et animé. Les témoignages collectés, dont ceux de Francis Lai, Claude Lelouch, Areski Belkacem, David Mc Neil alimentent cette histoire et le portrait central de Pierre Barouh, producteur, poète, cinéaste et visionnaire discret, dont le témoignage manquant en raison de sa disparition récente est comblé par ces textes inédits.


Emerson Kitamura -The Countryside is Great EP (Em records/17 February 2018)

14 Fév

Emerson Kitamura is here with the fifth and final in a series of 12-inch releases in support of the film “Bangkok Nites”. Kitamura is a renowned veteran keyboardist in Japan, having worked on countless sessions from the late 80s to the present. These self-produced tracks, featuring his trademark old-school rhythm box, feature instrumental and dub versions of Rungphet Laemsing’s “The Countryside is Great”, plus a bass music version of Angkhanang Khunchai’s “Lam Phloen Salab Khonsawan” and a cover of George McRae’s early disco classic “Rock Your Baby”, with mmm (mii mai moe) on vocals. Cover art by Shinsuke Takagi of Soi48. (Em records)


Candy Opera ‎– 45 Revolutions Per Minute (Firestation Records in 2018)

14 Fév

Catalogue Number FST154
Format LP/CD
Release 2018/02/23


What A Way To Travel
The Good Book And The Green
Fever Pitch
With Yesterday In All The Right Places
Left, Right And Centre
Slow Down The Slow Dive
The Gravy Train Run (CD only)
Nine Times Out Of Ten
Happy To Be The Plot But Not The Crime
Second Time Around
Love Constitution [Remix]
Whip Crack Away
Crucified (CD only)

When Candy Opera release 45 Revolutions Per Minute on February 23rd, it will be a belated introduction to a very special band, sired during Liverpool’s 1980s golden age, which has taken almost thirty years to happen.

Lovingly unearthed and compiled by Firestation Records of Berlin, and available on limited edition 18-track CD and deluxe 16-track vinyl, the result is a lost gem that points to a million what-might- have-beens.

When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world. Here was a classic four-piece, after all, steeped in the symphonic pop of Love’s Forever Changes and The Beach Boys’ Surf’s Up. Taking such influences as a template, alongside contemporaries such as Aztec Camera, The Pale Fountains and Prefab Sprout, Candy Opera were in the throes of crafting a 1980s song-book in their own image, and the band’s 1983 Honeysuckle Rose demo has become something of a holy grail.

By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV. Reviews in NME, Sounds and Jamming magazine followed.

With assorted Candy Opera line-ups augmented at various points by baroque flourishes of clarinet, flute or violin, such a sophisticated musical palette went way beyond notions of indie-band purism to create something grander, none of which remotely fitted in with the voguish scene-setters behind shoegaze, baggy and Britpop.


After a decade ploughing their own stubborn furrow in various guises, despite interest from EMI and Go! Discs, Candy Opera called it a day in 1993 with only a fistful of demos to their name. As the mainstream took a glossier turn, Candy Opera somehow got left behind, and for the best part of thirty years have remained a rumour, a whisper and a quietly lost legend that the occasional online leak could only hint at. Until now…

In 2017, the Berlin-based purveyors of indie obscurities behind Firestation Records chanced upon those same demos and it was love at first listen. The label’s Uwe Weigmann tracked down Malone and co, and found a band who hadn’t made music for a very long time. Paul comments, “When the label got in touch, it just all seemed a bit surreal to me; it was a big surprise, especially after 35 years, but I was glad that somebody finally recognised our worth.”

Having unearthed a spate of recordings that span Candy Opera’s entire history, the result is 45 Revolutions Per Minute.

“I first read about the band some years ago, on a forum for The La’s, and from this point on I was very interested to hear the band’s music,” recalls Uwe, Firestation’s founder and label manager. “Then a friend of mine told me that some Candy Opera songs were on YouTube. The first I listened to was What A Way To Travel. A couple of minutes later, I was sure that I wanted to work with the band. 45 Revolutions Per Minute is the perfect pop album, in my opinion.

It is an absolute masterpiece and I would list it next to such classics as Steve McQueen (Prefab Sprout), From Across The Kitchen Table (The Pale Fountains), High Land, Hard Rain (Aztec Camera) or Trapped and Unwrapped (Friends Again).”(firesation records)