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One of Jamaica’s greatest voices lights the way from roots reggae to dancehall on rhythms laid by Roots Radics, produced by Hyman “Jah Life” Wright and tweaked out by Scientist at King Tubby’s studio
Maybe more strictly one of dancehall’s greatest voices, Barrington Levy served ‘Bounty Life’ in 1979 - one of four albums that year - initiating one of the greatest catalogues of the era in the process. It shares classics ‘Shine Eye Gyal’ and ‘Shaolin Temple’ with the LPs of the same names, along with aces such as the title tune catching his distinctive flow in action, whereas ‘Moonlight Lover’ is a mango-sweet romantic anthem, and his version to Horace Andy’s ‘Skylarking’ brings the OG closer to the dancehall, where ‘Don’t Fuss or Fight’ signs off with a classic flourish.
Litho printed sleeve of the Praises double vinyl set. On the Justice label produced by Bunny Lee and mixed by Paolo 'Dubfiles" Baldini. Nice set.
<tracklist>
1. Step It Up Youthman extended - Barry Brown
2. Natty Rootsman (part 1) - Barry Brown
3. Natty Rootsman (part 2) - The Aggrovators
4. Fittest Of The Fittest (part 1) - Barry Brown
5. Fittest Of The Fittest (part 2) - The Aggrovators
6. We Can’t Dub Like This - The Aggrovators
7. Longer (intro)
8. Look How Long (vocal) - Barry Brown
9. Look How Long Dub - The Aggrovators
10. Longer (outro)
11. From Creation (vocal) - Barry Brown
12. Creative Vibes (xylophone) - Diggory Kenrick
13. From Creation (part 3) - The Aggrovators
14. Give Thanks And Praise (vocal) - Barry Brown
15. Give Thanks And Praise (Lion Mix) - Barry Brown
16. Give Thanks (part 3) - The Aggrovators
17. Creative Dub - The Aggrovators (CD only bonus track)
18. Natty Roots Controller - Barry Brown (CD only bonus track)
Recorded at: Channel One Studio, Dynamic Sounds Studio, Harry J Studio, King Tubby’s Studio
Backed by The Aggrovators
Drums: Carlton ‘Santa’ Davis, Lowell ‘Sly’ Dunbar
Bass: Robbie Shakespeare, George ‘Fully’ Fullwood
Guitar: Earl ‘Chinna’ Smith, Tony Chin, Radcliffe ‘Dougie’ Bryan, Bertram ‘Ranchie’ McLean
Keyboards: Winston Wright, Robbie Lyn, Ossie Hibbert, Tony Asher
Horns: Tommy McCook, Lennox Brown
Percussion: Noel ‘Scully’ Simms
Xylophone: Diggory Kenrick
Mixed : Paolo Baldini Dubfiles at Alambic Conspiracy Studio
Although Barton and his wife Priscilla McLean have had a long and distinguished history of LP and compact disc albums throughout their professional composer/performer career, this album is unique in that it is the first one to present, on one CD, such a broad and comprehensive picture of their purely electronic music, spanning 1975 through 2001. Interestingly, although their materials and equipment have changed, their ideas of musical composition are still basically the same, creating a unity throughout the CD.
Regarding the graphic score of "Song of the Nahuatl" which comprises the cover of this CD, Barton McLean and graphic artist Gary Pyle felt a need to explore the subconscious visual domain suggested by the sounds. The artistic rendering preserves dynamics, timing, relative high and low pitch areas, and textural/timbral aspects, while presenting a truly artistic expression in its own right.
To impart a sense of the meaning and composition of these works, along with offering a glimpse into the milieu in which they were created, the following excerpts are quoted here from Priscilla McLean's new autobiography "Hanging off the Edge: Revelations of a Modern Troubadour", published by iUniverse (New York, Lincoln, NE, Shanghai) and also available with corresponding CD, featuring excerpts of her music described in the book, at:
Throughout the time span of the works on this album, Priscilla McLean kept detailed journals of her experiences, forming the basis of her autobiography. These excerpts, abridged and slightly altered, are imbedded in the more specific program notes on each work below.
Book Excerpt: from HANGING OFF THE EDGE, pp. 149 - 159
1973 -1978: South Bend, Indiana to Austin, Texas:
In 1973, Indiana University at South Bend (where Barton McLean taught) ordered from the EMS Studios in London a Synthi-100 synthesizer and digital 256 sequencer, which comprised the first commercial digital sequencing capability in the USA. By 1971 we had also begun our own home studio, purchasing a new Arp 2600 Synthesizer and three reel-to-reel tape recorders: two two-channel half-track Revoxes and a four-channel quarter-track Sony, and borrowing from the college a small Synthi AKS Synthesizerムan update of the EMS Putney, with a ribbon keyboard and 256-note real-time sequencer.
When Bart introduced me to the new studio with the Synthi-100, I stared unbelievingly here was a huge synthesizer, along a whole wall, with hundreds of push-pins (a matrix setup for connecting sounds, rather than the old patch cords), and twenty-two oscillators! The Synthi-256 Digital Sequencer was a full-sized keyboard, standing alone diagonally to the analog synthesizer, but connected internally.
In that studio with the giant machines, one raced from one end of the room to another to play and record the sounds, never sitting down, and in removing unwanted noise or editing out a recorded section, the composer had to take a metal splicing block and sharp razor blade, and pressing down very hard, cut through the 1-inch wide acetate tape in two places, remove the unwanted time segment, and rejoin the two remaining ends with special splicing tapeノSo we three Bruce, Bart, and I worked all our spare time, alternating with each other, in the I.U.S.B. Studio. I spent whole days there, sometimes 22 hours long, working and working to get just the right sound-combinations and record them
The McLean Mix
[NOTE: The McLean Mix, composing/performing duo of Barton and Priscilla McLean, has toured worldwide since 1974, and annually since 1983.]
The McLean Mix was born on September 19, 1974, in our World Premiere concert at St. Mary's College, Notre Dame, Indiana. The faculty, of which I was an adjunct professor, was delighted when I offered to perform with Bart our new electronic music, consisting of Gone Bananas by Bart, as he soloed on the Arp 2600. This was a light piece, and ended with Bart, having set the synthesizer to play the music by itself on its sample and hold controller, sitting on the edge of the stage eating a banana! Second was my Night Images six-minute stereo tape work. Next came my "Dance of Dawn", 22 minutes long. We finished the evening with a jazzy piece by Bart called Groove, which had us jamming on two synthesizers the Arp 2600 for me, and Bart on the Synthi AKS. These early live-performance compositions suffered the demise of all such pieces of the period, but fascinated the audience at the time they who had never heard any live electronic music. The works for stereo tape lived on, however.
"During the halcyon days of the 70's, when all electronic music was enthusiastically received and the audiences large and eager, an album produced out of this concert (CRI SD 335 with Priscilla's "Dance of Dawn" and Barton's "Spirals") garnered a dozen reviews from all over America, and the composers were looked upon as courageous explorers into a vast musical continent unknown and beckoning.
In August of 1976 we moved to Austin, Texas. After the Synthi-100 was removed from the Indiana University, South Bend Electronic Music Studio in 1974, we were left with its digital sequencer, a small ElectroComp 101 Synthesizer, the mini-synthesizer Synthi AKS, and the tape recorders and mixer. This wasn't enough to continue any quality work, so we added our own home studio equipment, and turned back to manipulating found soundsムsteak knives bouncing on violin strings, tennis balls on the piano harp, banging pots and pans, etc. All of these sounds in addition to ones from the synthesizers and sequencer I used in my next major electronic piece, "Invisible Chariots". Because of the unwieldiness of the musique concrete (recorded, not synthesized, sounds) medium, composing the piece was glacially slow.
For instance, the first sound is a scrape up a bass piano string with a metal bar. I wanted the echo from the piano to last over thirty seconds, so I had to record it onto a master tape, then re-record the echo from this tape to each of four channels of another tape recorder, recording each successive one a few seconds ahead of the last one, over and over, until thirty seconds evolved. Then I combined the beginning piano flourish, recorded at home, with a similar keyboard flourish created on the Arp 2600 Synthesizer and performed, playing (forwards and backwards) on the Synthi 256 Sequencer. Much more was involved to complete this complex beginning sound, and two months of time for thirty seconds of music!
After lying low since our performance in the old UT electronic music studio a few weeks after we arrived in Austin in 1976, The McLean Mix was revived and had several engagements the spring of 1979. This included Bart's new electronic piece "Song of the Nahuatl", finishing with my "Invisible Chariots", with all three movements. This varied according to the audience and schedule. [end of paraphrased excerpt]
ドイツ・ハンブルクを拠点にニューエイジ・リバイバルを牽引したBasso主宰の名門レーベル〈Growing Bin Records〉や、ギリシャ系ニューエイジを掘り起こした〈Into The Light〉などからのリリースや、アンビエント・ダンス・ユニットEarth TraxやPtakiなどの名義でも活動するポーランド・ワルシャワのバレアリック／アンビエント鬼才ことBartosz Kruczynskiによる最新ソロアルバム、今回も凄い才能＆内容！16年リリースの『Baltic Beat』が当店でも大ヒットを記録した人気アクトによる、4年振り最新アルバム！温かみのあるビブラフォン、張り詰めたアルペジオ、重なり合うストリングス、孤独なディレイチェーンなど、アンビエントの重なり合うスタイルに、常に独自のスピンを加えてきた名手による、安定のバレアリック／アンビエント作品！
A miraculous union of techno and dub reggae, featuring two tracks remixed by Mark Ernestus & Moritz von Oswald's Basic Channel, "Remake (Basic Reshape)" (1994) and "The Climax (Basic Reshape)" (2001) under the name Carl Craig-Paperclip People. A universal masterpiece of immersive ambient dub techno, remixed by von Oswald's Basic Channel.
unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.
unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.
'BATSUMI’s 1974 classic. Repressed at Pallas in Germany on 180g black vinyl. Cover printed on reverse board and includes printed inner sleeve with liner notes from Francis Gooding. Initial copies shipped with exclusive 30cm x 30cm print of Batsumi performing in 1974.
Batsumi is a masterpiece of spiritualised afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidi’s mesmeric bass figures. The warm notes of Johnny Mothopeng’s guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory.
Many groups from this period did not issue recordings at all, and Batsumi are unusual in even having left an official recorded legacy. Out of print since the 1970s, and never issued outside of South African in its entirety, Batsumi is a landmark South African jazz recording, and a key musical document of its time.'
Each cassette in this trilogy is based off over a decade of audio-spiritual research on three beings who have created highly spiritual musical compositions, and who have transitioned off this planet in the physical: Pharoah Sanders, Alice Coltrane (Swamini Turiyasangitananda), and Sun Ra. You will hear two ensembles - Roman Norfleet & Be Present Art Group as well as The Cosmic Tones Research Trio - play interpretations, responses, and hypotheses pertaining to the research on the music and message of those beings. Each cassette is simultaneously in tribute and is also a sonic dissertation. These cassettes are intended as future research on how the music of these beings affected the playing, the witnesses, and the hearers at the time of performance.
The first cassette "Something’s Happening: The Transitioning of a Pharoah" centers the beingness and music of Pharaoh Sanders. This recording took place on the day of his transition (9-24-22) at The Lumber Room in Portland, Oregon and features the ensemble Roman Norfleet & Be Present Art Group. The news of Pharaoh’s transition stunned the whole planet. The ensemble had different compositions prepared for this day originally, but immediately made new sonic arrangements in response, prayer, grief, and gratitude. Norfleet had a formative encounter with Sanders around 2013 while working as a computer salesman and learned about the music of Sanders directly from him. They spent hours in conversation on technology and music, which included talks about Sun Ra.
The second cassette is titled "Explorations of Turiya Loka" and was recorded at Leach Botanical Garden in Portland, Oregon (9-24-23). "Turiya" is a spiritual, blissful state and "Loka" means planet - according to Vedic spiritual systems. Turiya Loka is a spiritual, blissful planet. This cassette holds a recorded ceremony by Roman Norfleet & Be Present Art Group honoring the music and spiritual teachings of Swamini Turiyasangitananda (also known as Alice Coltrane) and explores what Turiya Loka may sound like. Turiya Loka is a home for Swamini Turiyasangitananda based on her song “Om Supreme” on the album Eternity. Since 2017, Norfleet has been studying and fellowshipping with the students of Swamini Turiyasangitananda who are based in California and still run the Vedantic Center organization. The organization continues to hold classes and ceremony. In this recording, listeners will get a chance to hear spiritual insight from Radha Botofasina, who is a student of Swamini Turiyasangitananda and lived on the ashram the spiritual teacher founded in Agoura Hills, California.
The final cassette consists of music from The Cosmic Tones Research Trio composed of Harlan Silverman, Kennedy Verrett, and Norfleet. It was recorded in community at Mississippi Records in Portland, Oregon (12-3-23). The ensemble's name gives a nod to Sun Ra’s "Cosmic Tones For Mental Therapy" album title and was formed for extensive research purposes pertaining to universal and cosmic tones - how they affect human mental wellness and overall interspecies wellbeing. Sun Ra’s "Cosmic Tones For Mental Therapy" is a great example and research tool for audio wellness. The evening of this concert was the trio’s first mental wellness event which had tremendous positive effects on the beings and buildings present and surrounding.
Beastie Boys reissues raining down on your turntables these days! Ill Communication, coming at you from 1994, with all beats produced, lines rapped and instruments played by the Beastie Boys, spawned one of their most famous songs, Sabotage. But these guys gave us so much more: shortly after the release of this album, they coined the word mullet. This is your chance to acquire a piece of pop culture history!
Released in 1986 as the Beastie Boys’ debut album, produced by Rick Rubin, it fused hard rock guitar riffs with hip-hop beats. It became a landmark record as the first hip-hop album to reach No. 1 on the Billboard 200. This edition is a 180-gram heavyweight vinyl remastered reissue.
The title of this work by Beatrice Dillon is taken from the notion of ‘basho’, developed by Kitarō Nishida, Japanese philosopher and father of the Kyoto school. Kitaro’s ‘basho’ (場所) refers to a fundamental ‘place’ or ‘field’ where things exist and interact. Not just a physical location, but a more abstract space where all experiences, thoughts, and phenomena are interconnected. In Nishida’s philosophy, ‘basho’ is a dynamic, living ground where subject and object, self and world, are not separate but mutually interrelated. Inspired by this, Beatrice Dillon develops a music of a complex nature, that never ceases to constitute itself as pure presentation, constantly re-exposed, reactivating at every moment both the object of attention and the listener who aims at it. Borrowing both its sounds (which have no real origin or internal space) and its idioms from electronic music, Dillon's Basho is a diversion, a rearrangement that places us, through elements that are familiar but suddenly alien, back into a field of pure listening.
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Still Forms, by Japanese composer Hideki Umezawa, draws its sound material from the exploration of Baschet sound structures, instruments developed by the brothers Bernard and François Baschet in the 1950s that have since been highly prized by the world of contemporary musical creation. These structures were presented at the 1970 Osaka World’s Fair, and some remained in Japan. Through various recording sessions, in Japan but also in France, Hideki Umezawa re-explores the fascinating sonic potential of these atypical instruments to include them in a highly mastered composition where sounds of acoustic origin and electronic textures respond to each other, as in the distorted reflection of the resonators of the Baschet structures. Still Forms is thus a tribute to, and a journey through time through, the incredible power of inspiration and invention of these sound structures, but also a sharpened proposal of contemporary electroacoustic composition that knows how to renew itself without denying its origins.
