MUSIC

Thirty-two artists honor the extraordinary legacy of Suzanne Langille through interpretations of her vast songbook. Langille is best known as an acclaimed avant garde singer-songwriter and collaborator of guitarist Loren Connors. They ventured into electrified blues and abstracted artsongs across more than a dozen albums since the mid-1980s.

Langille’s songs, with Connors, solo, or other collaborators, are marked by distinct and captivating depth. Her evocative lyrics, layered with themes of loss, longing, and the natural world, defy conventional boundaries, blending poetry with potent melodies. Her work embraces the uncertainty of life and the delicate spaces between joy and sorrow.

Langille’s first published composition — “Grip My Hand” — kicked off Connors’ 1990 album Rooms. As her songs began to dot more of Connors’ albums, she led the spontaneous blown-out rock band Haunted House and collaborated with the trio San Agustin. Later, she released two albums with daf-player Neel Murgai.

“Suzanne’s songwriting defies easy classification. She bypasses essay-style lyrics and unsubtle emotion. Instead, she dives into the tenuous spaces between life, the unknown, and the shades of uncertainty lingering in between,” Family Vineyard's Eric Weddle writes in the album liner notes. “That’s the magic of Suzanne’s songs. A melody rises and pulls you in, like the relentless undertow of the Long Island Sound.”

The Suzanne Langille Songbook features a diverse array of artists who reinterpret her music, showcasing its timeless and transformative power. 

A ’70s homemaker stuck between the studio and a getting dinner on the table, Joyce Street eked out an arresting countrypolitan discography in the margins of an otherwise traditional American life. With lyrics drawn from the pages of her diary, Street’s stirring Mississippi warble led her into the fly-by-night world of custom studios, cutting tracks for upstart country concerns like Reena, Sonobeat, Revelation, and Arc. Channeling the honky tonk angel energy of Bobbie Gentry, Lorretta Lynn, and Jeannie C. Riley, Tied Down compiles a decade’s worth of melodies disguised as lottery tickets.

This is a remix of the album released in 2019 on Wharf Cat Records, a prestigious label that has been home to many of the indie world's heretics, including Blanche Blanche, The Ukiah Drag, and Horoscope. The album is a remix of the 2019 album from Wharf Cat Records, a label with a long list of indie outliers, including Zaliva-D, Simon Frank, and Howie Lee (also from Beijing), Shanghai's Knopha, who released Nothing Nil on Eating Music, and Taiwan's Scattered Purgatory. and the Taiwanese Scattered Purgatory. This is the perfect introduction to the Chinese underground.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn’t until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she’d heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa’s entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

“My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.” – Bob Dylan Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets. World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

Sandy Bull was an American folk musician who rose to prominence with a series of albums on the Vanguard label in the 1960's and 70's. "Still Valentine's Day 1969" is a comprised of two live shows recorded at The Matrix in San Francisco in 1969 with Bull playing shimmering electric guitar and oud, accompanied by tape loops. Previously available on CD, this is the first ever vinyl pressing and includes the original liner notes from Byron Coley. Patti Smith declared that Bull was "no minor player. He influenced, however subtly, an entire generation. His reinvention of classic pieces paved the way for my own experiments.

When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. Afrodelic's 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

Post Floral and pre-Yellow Magic Orchestra "all-star" band featuring among others Haruomi Hosono on bass and Takashi Matsumoto on drums. This album, produced by the Tokyo-based band, encapsulates a transformative moment in the nation's counterculture movement and its contribution to the global evolution of psychedelic music. With intricate guitar work, haunting vocals, and experimental compositions, the album remains an enduring influence in the global psychedelic music landscape. An all-time Japanese psych classic from 1969 finally back on pink vinyl.

Acclaimed guitar duo Loren Connors and Alan Licht celebrate their 30-year collaboration with release of their eighth album — At The Top Of The Stairs.Across the decades, their improvisations turned increasingly abstract and atonal, while still maintaining complex, ethereal arrangements. The harmonious blend of Licht's meticulously crafted feedback and harmonic patterns with Connors' ghostly blue tones remains the core sound of this partnership. At The Top Of The Stairs was recorded live in 2018. Across two side-long pieces, the duo ascends slowly, through layers of atmospheric tension punctuated by thunderous waves of Connors' effects.For fifty years, Connors's adaptation of acoustic Delta blues has transmuted into miniature gray scale compositions and howling riffs. His collaborators include Oren Ambarchi, Keiji Haino, and Kim Gordon. Rock/experimental musician Alan Licht was a member of the bands Love Child, Run On, and Lee Ranaldo & the Dust, and has released a range of acclaimed rock and experimental albums. He is an author with books published by Rizzoli, W.W. Norton, Faber & Faber and Blank Forms.

Orgōne is a pillar of West Coast soul music, maintaining an unmissable touring presence for more than a decade. The group’s arresting intensity, impeccable playing style, and undeniable, irresistible chemistry have earned them the reputation as one of the tightest bands of the modern era. Fresh off of doubling as the studio band for discodelic sensation Say She She and circling the globe as the live band for their wildly successful world tour, Orgōne is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psych-rock. In Chimera, the heavy-hitting new LP from Orgōne, out February 9th, 2024 on 3 Palm Records, the Los Angeles-based outfit carves tough, gritty, infectious grooves into heady dance rhythms. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. The album offers a spellbinding mix of cathartic instrumentals, dub voyages, and soulful vocal performances by Jamie Allensworth, Terin Ector, and Congolese musical alchemist Mermans “Mofaya” Mosengo. Known for their gripping instrumentals and incendiary live show, the band is firing on all cylinders and the earned confidence of this time-tested, cult-favorite crew is on display throughout Chimera. Describing the process of producing and engineering this psych-funk showcase, guitarist and Orgōne co-founder Sergio Rios says, “The album really took form organically. It’s raw and dark with a hopeful thread throughout that’s highlighted by the incredible soul singers we work with. There's a looseness to most of the cuts, giving the album the feeling of a shadowy dream.” With Chimera, the band has tapped into a deeper version of themselves. The sounds are fresh yet classic, the grooves are ferocious and infectious, and the vocal performances are captivating. The album opens like a heady puff of smoke in the face with “Hallowed Dreams,” drawing the listener into a state where reality blurs and the music takes control. The focus track, “Zum Zum,” is a hooky Afro-funk dance floor heater that synchronizes your heart rate to its propulsive percussion, the hypnotic rhythm building into a raucous, psychedelic climax. Mermans “Mofaya” Mosengo sings in his native Lingala, jabbing and weaving around the rhythm section’s chugging force with his gruff and soulful voice. On the raw and rousing “Tula Muisi (Dance Like Them),” a tapestry of Afrobeat and heavy psych-rock bolsters Mosengo’s call for unity and respect, which translates to “Hear the music, and dance like them.” On “Lies & Games,” Terin Ector brings yearning soul vocals to this righteous lament of the rocky road to redemption over grimy rhythm guitar, spaced-out synths, breakbeat-worthy drums, and haunting Wailers-inspired backing vocals. “Parasols” is a jaunty, head-bobbing slab of greasy New Orleans funk, and a heartfelt nod to Josie-era Meters and the unmistakable early 70s-era production of Allen Toussaint. The instrumental serves up a punchy, slightly tipsy rhythm that sways with sweetly melodic gospel-tinged organ. Drawing on multicultural influences of Afrobeat, Southern soul, psych-rock, and raw funk, Chimera bridges the darkest reaches of psychedelia to the highest peaks of joyful dance music. With easy SoCal swagger, deep New Orleans roots, and a profound reverence for the sounds of the African diaspora, Orgōne creates a unique, transporting experience that feels untethered to any single place or time. Relentlessly vibey and immersive from start to finish, Orgōne’s newest LP feels like a sustained hypnagogic hallucination — the place between waking and sleep where reality is fluid and anything feels possible. From its inception, Orgōne has always been a chimera — a multifaceted creation and the physical manifestation of impossible quixotic dreams. Chimera will delight fans of early Orgōne while showcasing the band’s effortless and endless ability to shape-shift. It’s an electrifying, mesmerizing record sure to exceed expectations and keep the listener rapt. For fans of Altun Gun, Khruangbin, King Gizzard and the Lizard Wizard, Witch, Goat & Monophonics.

This is an official release from the prestigious [Mississippi Records] of a compiled compilation of material from the 70's by Abner Jay (1921 - 1993), an American multi-instrumentalist from Georgia and a lone one-man band and outsider bluesman. This is another solo band style, with one man playing drums, banjo, vocals and harmonica. The name of the song is "Cocaine," and it's a slow, country-style performance with a heavy dose of poison. His voice is very convincing, perhaps because of his checkered, haphazard, and reckless life. This is a bluesman!

The tragic tale of Billie Holiday involves a fractured childhood, a seemingly endless series of abusive men, and addictions to heroin and alcohol, all played out in the public eye after targeting by the FBI. Nevertheless, her huskily expressive voice is timeless and the way she brought blues phrasing into jazz was hugely influential. The 1956 release Lady Sings The Blues took its name from her shocking autobiography and the disc finds her on fine form throughout, the landmarks including the immortal "Strange Fruit," the defiant "God Bless The Child," the mournful "No Good Man" and the great title track. Classic Lady Day all the way!

Hand-picked by Take It Acid Is, a beautiful collection of drug-themed tracks from the early era of jazz and blues. Featuring the likes of Ella Fitzgerald, Bessie Smith, Cab Calloway, and more of the usual suspects. When it gets low, it gets high! Also features Victoria Spivey, Barney Bigard, Chick Webb, Fats Waller, Stuff Smith, Julia Lee, Don Redman, Lil Green, Jerry Kruger with Cootie Williams, Helen Ward with Gene Krupa, and Trixie Smith.

The 17th album released in 1985. Produced by Toshiyuki Honda and Tetsu Yamauchi. It is radical and experimental, but also has a pop sense that shines through more than ever.

激レア化している2018年作が初の再発。ノースカロライナ州アッシュビルを拠点に、フォーク、カントリー、ブルース、そして宇宙的なアメリカン・ロックを見事に溶け合わせるソングライター、Ryan Gustafsonの変名The Dead Tonguesによるアルバム『Unsung Passage』が〈Psychic Hotline〉よりヴァイナル・リイシュー。常に各地を飛び回ってきた冒険家であるグスタフソンが、歌うにふさわしいといえるほどに見てきたものを、その一人称で見つめ直した作品。慌ただしい現代に向けた内省的なアンセムに注ぎ込まれる秀逸な一枚。

A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Shūji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue

Kentish town siblings Kitty, Daisy and Lewis have rightfully earned themselves a reputation for being a group of highly talented and original masters of transcendent rock n’ roll. They have cast their distinct musical spell over listeners and critics alike with a sound that whilst deeply rooted in the past hurtles towards an interminable and effervescent future.

The 1st solo album "Himatsubushi" released in 1974 after the breakup of Murahachibu is now available in a limited edition reissue with the original cover obi from the time of its first release!

Born in 1923 in Clarksdale MS, Wade Walton, besides working as barber, was a strong blues guitarist and harp player who toured with minstrel shows in his teens and formed the Kings of Rhythms with Ike Turner in the 40's. Recorded by Rudy Van Gelder in 1962 and originally released by Bluesville Records, "Shake ’em on Down" was his biggest album, a great piece of downhome blues which earned him international attention. People said that no trip to Clarksdale would be complete without a trip to Wade’s Barber Shop (Delta Boogie)

激レア化している2018年作が初の再発。ノースカロライナ州アッシュビルを拠点に、フォーク、カントリー、ブルース、そして宇宙的なアメリカン・ロックを見事に溶け合わせるソングライター、Ryan Gustafsonの変名The Dead Tonguesによるアルバム『Unsung Passage』が〈Psychic Hotline〉よりヴァイナル・リイシュー。常に各地を飛び回ってきた冒険家であるグスタフソンが、歌うにふさわしいといえるほどに見てきたものを、その一人称で見つめ直した作品。慌ただしい現代に向けた内省的なアンセムに注ぎ込まれる秀逸な一枚。

After wrapping the tracklist for Local Downriver Revival, we knew there was a smaller second record buried in the mountains of tape rescued from Felton Williams’ Ecorse, Michigan, basement. Born at the tail-end of a Depression that darkened the entire United States, Shirley Ann Lee took her talent as a singer and pianist from a grim, overcrowded house in Toledo, Ohio, to a glamorous, gospel-fueled adolescence on the road and in Nashville. It wasn’t until her return to Toledo after a disastrous marriage in Los Angeles that, for the first time in almost two decades of public performances, she found the urge to praise God with her own words. As the Revival label’s lone “star,” Shirley Ann Lee was afforded dozens of opportunities to record her songs, but only six sides managed to trickle out on 45 between 1967 and 1969. Using Revival’s aborted Shirley Ann Lee Radio Hour program as our guide, we’ve taken the best of her proper studio recordings, in-the-moment sketches, out-of-tune piano demos, and rehearsals with young kids talking in the background and created the Shirley Ann Lee album that never was. A one-LP revival of an unheralded gospel giant that is sure to convert the non-believers.

Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions. Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

Long awaited follow up to the "True Story of Abner Jay" LP. Abner Jay was a man who had a grand sweeping vision of what folk music was. In his lifetime, his expression of what folk music could be encompassed some serious stylistic variations. Sometimes he was a one man band traveling troubadour playing an electric banjo, harmonica, & drums who tried to hoodwink audiences into believing that he was 150 years old & the standard bearer for authentic Americana. Sometimes he played in electric straight up R&B bands such as "Koko Joe & the Jobhunters". Culled from a mix of Abners' 45's & LPs spanning the period 1964 - 1973, including Abner's first LP. We hope that this release will help to further the current wave of understanding that Abner Jay is an important artist who deserves a wider audience than he ever received during his lifetime. This edition features a revised track listing for maximum pathos and depth. Licensed from Brandie Jay, Abner Jay's daughter. 160g black vinyl in heavy jacket.

Based in the Brazilian capital of São Paulo, the TORMENTA collective has long offered an alternative vision of the city's rich and colorful musical heritage. Operating as an ongoing series of DIY parties, creative agency and record label, TORMENTA has welcomed challenging sounds into São Paulo and released music from a cross section of Brazilian artists, including Fkoff1963, 177th & Digestivo. Their musical output is unrestrained: pop edits and unhinged hard dance rubs against errated heavy metal and lifted ambient drone. Anything's possible, as long as there's a social conscience and a middle finger to expectation. In 2019, TORMENTA put together a short film for the online edition of Nyege Nyege Festival. Since the crew is made up of obsessive horror movie fans, the direction was clear. "O Som do Labirinto" (The Labyrinth's Sound), is a terrifying and psychedelic audiovisual experience that's centered around a journalist attempting to examine a series of mysterious gatherings. Casting a side-eye to VICE's notorious series of fish out of water documentaries, the film drags its protagonist to hell through a series of grueling mental trials, all accompanied by TORMENTA's bloody toolbox of tortuous sounds. This full-length soundtrack finds the collective exposing their deep horror movie knowledge and finally flexing their film score muscle. The crew's ragged club DNA is still present, but mainlined into a Frankenstein's monster of John Carpenter synths, haunted piano loops and gruesome Lustmord-esque dark ambient drones. Alada's 'Running' straps a familiar hoover bass to bloodcurdling low-end rumbles and sparse, propulsive kicks; MTMA's 'O Pesadelo' sounds like broken clocks and music boxes at the "Evil Dead" cabin; 177th's 'Together' is a nightmarish beatless rave anthem that's like Lorenzo Senni on a bad trip; and Bruxax's 'Scream' is a full-on sludge metal freak-out that could sit alongside a Rob Zombie movie. The "O Som Do Labirinto OST" is Brazilian experimental club music in corpse paint holding a jack-o-lantern and weilding a bloody knife. Be afraid.