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New artwork and design by Manchester-based graphic designer Trevor Btch. Reilly was just enjoying the tape time, playing many of his current works in progress. Most of the tracks here have a beautiful fragility, whether they're solo guitar instrumentals "Estoril A Noite" or piano pieces "Wheels Turning"not to mention the btch loop from "Without Mercy" bitcy "Favourite Descending Intervals. The show captured here kwrokh work from the then-contemporary albums The Return of the Durutti Column and LCalong with tracks that would later appear on Another Setting and Without Mercy At the time, the band were approached after the show by a well-known live recordings dealer, who was interested in putting out an album based on the desk mix he had acquired without any knowledge of the band.

A deal was struck on a napkin to release only copies, with Vini Reilly having full control over the choice of Mark Warner's artwork. This reissue is the second in a series of five releases of rare or previously unreleased material from the band on the Durutti imprint. In the s, when radio became available in his area, Alfred listened to and enjoyed performances by several of the era's popular singers. Alfred would purchase songbooks and hymnbooks, and his wife Nettie would read biych lyrics to him. Because the songs he learned from others did not always express aspects of what bicth was thinking, feeling, and experiencing, Alfred felt compelled to compose his own songs, and he was exceptionally talented in this endeavor -- a craftsman with kaarokh things to say.

Relying upon his talent to generate money, he gave music lessons, performed at dances and various social and church gatherings, sold printed copies of his own lyrics, and, in andmade the commercial recordings included on this set. Compiled by Ted Olson, a scholar, poet, photographer, and musician based in east Tennessee. This set surveys a blind spot in most people's knowledge of early-'80s Italian underground music, framed against a backdrop of the Anni di piombo or Years of Lead -- a period of domestic political turmoil between the late '60s and early '80s -- and the mushroom shadow of nuclear bitcj. Like their international bihch allies, The Tapes reacted to this world thru a matrix of Hot bitch in karokh, drum machines, microphones, bktch four-track recorders, mostly recording ideas direct to tape in one take and making a virtue of their lo-fi set-up's infidelities and imperfections -- randomness and mistakes were katokh rather than ,arokh -- while absorbing the counter-cultural on of William Burroughs and Throbbing Gristle and the sci-fi dystopia of J.

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His big break came with 's Pets Recordings smash "Entrance Song," and a global touring schedule and releases on Hot Creations, Dirtybird, and Crosstown Rebels followed. The resultant continuous live set recording is a musical treat for lovers of all shades of house, from the classic to the modern. Packaged in bespoke slipcase containing die-embossed tin. Housed in deluxe Stoughton gatefold sleeve. Faithful reproduction of the original release featuring Stoughton 'tip on' style jacket. Includes free 22" x 22" poster! For starters, this platter begins with one of the great intros of all time: You are about to witness the eighth First moving hips and making heads nod inthe James Brown-produced, 5-song album is one big funk lick, broken up into many delicious moving parts.

As with pretty much everything produced by the JB's -- led by Fred Wesley with heavy help from a supporting cast that included saxophonist Maceo Parker, guitarists Jimmy Nolen and Hearlon 'Cheese' Martin and drummer John 'Jabo' Starks -- all songs began and revolved around a devastating riff. The title track is most certainly guilty-as-charged, as it starts strutting right out of the gate and continues for just over 10 minutes, driven by a guitar lick and MCed by the inimitable James Brown, with soloists stepping up and out while the song chugs on. The song title itself is provocative, and the music keeps a stone-cold groove despite the less than cheery undertones.

Again driven by an infectious guitar morsel, the breakdowns in this song gave sampling producers and DJs sweet dreams in the '80s, and Fred Wesley's trombone solo rides beautifully over the group's cries of 'We need some money. It's just another perfect example of how James Brown's funk machine could stop the world when they hit a groove. Includes full-color booklet containing informative liner notes by collector Jack D. Fleischer prepared from artist interviews, as well as full lyrics and rare photos. Mirroring the sentiment of the prescient UK radio legend in his Vibrations column for the International Times in the '70s, LightDreams leader Paul Marcano took one step beyond his intimate colleagues and chose to spread his ideals concerning peaceful outer-space colonization to all with open ears.

Islands in Space, dotted with acoustic jams, backward guitars, lyrics alluding to the British progressive era, smoking-hot electric leads, synths galore, and the dreamiest of melodies, is both Marcano's love letter to the work of science-fiction author Gerard K. O'Neill and the psych-tinged folk explorers who came before him such as McDonald and Giles. Home-recorded yet hi-fiIslands in Space carries a singular quality, defies easy categorization, and has long been savored by collectors of otherworldly joys. This singular, beatific work now has another chance to shine from Earth's surface to the outer reaches of the galaxy. The Sound of Durban Vol.

The album unites many of the genre's local producers over 15 tracks. Each polyrhythmic track draws on the darker side of electronic music, hip hop, sound system culture, kwaito, UK funky, and deep African vibrations. With its mix of ethnic tradition and urban tension, South Africa has been a cradle of cultural phenomena. In its own way it is a country of great wealth, particularly rich in contradictions, yet decades after the end of the country's apartheid, little appears to have changed for the millions of black people who live in its notorious townships. It is from this background that innovation is continually being injected into the living body of the local music culture.

The heartbeat of Durban is gqom. Closer than brothers, they lived together, made music together, worked, played, laughed, cried and dreamed together. During that time, the band went through different names and phases, as their music evolved from garage to psychedelia to hard rock, but the core of the band always remained the same: Mark Lightcap rhythm guitar, vocalsBruce Marelich lead guitar, vocalsand Martin Espinosa bass, vocals.

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