Eight Miles High Masochism World Makes No Sense At All Love Is All Around
preorder, rel 7 Aug
The South Korean/Japanese couple at the core of the group have built their ethos around a life lived in thrall to the
Bush Doctor is the third studio album by Jamaican reggae musician Peter Tosh.The single from the album, a cover version of The Temptations song “Don’t Look Back”, performed as a duet with Mick Jagger, made Tosh one of the best-known reggae artists. Rolling Stones guitarist Keith Richards is also featured on the album, playing guitar on “Bush Doctor” and “Stand Firm”.
The six songs that comprise the first side of this album are a truly classic body of work, highlighted by the atomic blast of their only hit single “Seven & Seven Is”, the manic jazz tempos of “Stephanie Knows Who,” and the enchanting “She Comes in Colors”, perhaps Lee’s best composition (and reportedly the inspiration for the Rolling Stones’ “She’s a Rainbow”). Closing the album is a 19-minute jam called “Revelation” that takes up the entire B-side of Da Capo.
This is the debut album from Jungle brothers, the American hip-hop trio and pioneers of jazz, hip-hop and house fusion. This 11 track LP has been reissued on 180g heavyweight classic black vinyl with printed inner sleeve. Includes the classics ‘Black is Black’ and ‘Because I Got It Like That’. A Cult classic originally released in 1988 on the Warlock label.
On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith’s continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall’s most experimental and improvisational recordings. As proclaimed on the album cover, “Undilutable Slang Truth!” would be revealed throughout Room To Live.
With the album’s comparatively lo-fi production and always-teetering performances, the title track comes closest to a stab at pop (by The Fall’s standards), built on fantastically bent saloon swaying under one of Smith’s by-now characteristic dressing-downs of square life. “Detective Instinct” is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. “Marquis Cha Cha” is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure.
Superior Viaduct’s edition is the first time that Room To Live has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band’s diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.
“Frightened” has magnetic attraction / repulsion that shifts between Martin Bramah’s skeletal guitar, Yvonne Pawlett’s plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith’s mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. “Rebellious Jukebox” takes yet another turn and showcases the band’s more melodic leanings.
One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band’s snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, “We are The Fall, northern white crap that talks back.”
Superior Viaduct’s edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.
“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”