MUSIC

Selva Discos fulfills its duty of giving a new life to Fernando Falcão's long lost LPs with the reissue of his album Barracas Barrocas, originally released through Egberto Gismonti's cult record label Carmo in 1987. Somehow, an original copy of this album is even more elusive than its predecessor Memória das Águas and it is a pity that such a stunning piece of music was kept apart from listeners worldwide for so long.

The follow-up to Memória das Águas was recorded in São Paulo after Fernando Falcão returned from his exile in France in 1984. In order to conceive Barracas Barrocas, the musician had the help of illustrious friends, such as singer-songwriter Alceu Valença and singer Tetê Espíndola, alongside brothers Myriam and Daniel Taubkin. At the time, Falcão was still using the sound sculptures he created for Memória das Águas, as he is credited in the liner notes for playing a "water orchestra" and his berimbau variant called balauê.

Barracas Barrocas is an album that works as a more condensed and coherent artistic statement of Falcão's œuvre. Lush strings, swelling brass, glowing production, and humming atmospheres fill the record, adding a beautiful yet subtly linked counterpoint to his previously explosive debut. It is very cinematic, sounding like the soundtrack of a play that only existed in the musician's mind.

For this release, not only the sound was remastered but the artwork of Barracas Barrocas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus an article that tells the story of Fernando Falcão after returning to Brazil fol

First ever reissue of highly sought after french jazz funk fusion nugget from Alain Bellaïche featuring, Jerry Goodman (Mahavishnu Orchestra), John Hicks (Strata-East) & Fabiano (Fabiano Orchestra).
Remastered from the master tapes.
Restored artwork + 12 page booklet.
Licensed from Alain Bellaïche.

A Frenchman who is returning (but who we seem to discover!) from the USA is something unusual. Everything seemed to start out well for Alain Bellaïche: Born in Tunis, childhood in Cannes, studies at the Ecole des Beaux-Arts in Paris, his first folk concerts folk in youngsters’ houses and clubs where everyone was well behaved …

Then, in 1973, he left for the States. Bellaïche would settled for around ten years, with, as a soundtrack, the two albums that he would record there. Metropolitain, which was the fruit of his collaboration with the Heldon guitarist Alain Renaud, and Sea Fluorescent. In the catalogue of Asylum, David Geffen’s first label, Bellaïche’s music was listed alongside that of the Byrds, Tom Waits, Joni Mitchell, and Bob Dylan.

In a Rock & Folk, interview Bellaïche expressed his regrets as to the prudence of French musicians: “I never had a group… perhaps the guys here are not motivated to play this kind of music”. We should note that the influences of our expatriate were, for example, Led Zeppelin, John McLaughlin, Weather Report, Herbie Hancock, The Spencer Davis Group…

Bellaïche, a multi-faceted and iconoclastic musician, composed Sea Fluorescent just following his desires: from a cosmic ballad (St Andrea), to West Coast funk (California), dreamlike Spanish influences (Spanish Roots), optimistic blues (Foolin’ Myself), a solar track (I’m Angry, Sun Blues) … And the Frenchman was in good company: Jean-François Fabiano (from Fabiano Orchestra) on drums and percussions, Jerry Mahavishnu Goodman on violin on Got My Place In That Country, Wornell Jones on bass or John Hicks whose cascades of notes bring Reggae & Western closer to the ‘reassembled’ jazz that the pianist was playing at the time…

When, finally, after the fabulous declinations of the title track of the album, we hear a bonus on which Bellaïche sings in French, it is time for a Chacha émotionnel on which offers this horrible confession: “I’m not from around here, I come from a backward country”. Thanks to Souffle Continu, France is finally catching up.

Silvia Tarozzi and Deborah Walker have emerged as one of the most interesting duos in contemporary improvised music. First introduced to Unseen Worlds through their performance on the Philip Corner recording "Extreemizms: early & late", Tarozzi and Walker elevated recent recordings, Eliane Radigue "Occam Ocean 3", Pascal Criton "Infra", and Tarozzi’s own "Mi specchio e rifletto" to greatness. Their finely tuned sound makes even the most adventurous tones compelling. With "Canti di guerra, di lavoro e d‘amore" the duo add folk music to their contemporary classical and improvised music roots, reinterpreting songs from their youth in rural Emilia that originated from the emancipation of working class women and the partisan Resistance in World War II, especially ones sung by choirs of female rice field workers, called Mondine or Mondariso. Their songs tell a story of hard, poorly paid work, love, the hypocrisy of society, protests, war, the challenge of working far from home, the violence of oppression and the need for political awareness. Following years of incorporating, reinventing, and transforming these songs within their practice, Tarozzi and Walker unlock emotional territory where their relationship with Emilia resonates in concert with other sounds and places.

Beyond The Willow Tree is a hauntingly beautiful anthology of folk songs chronicling the experience of a young black man growing up in the segregated south. A balanced mix of covers and originals, Cleveland Francis’ body of work seamlessly blends deep, soulful vocals with the stripped down acoustic instrumentation of folk. In the late 60’s Francis coined the term “soulfolk”, playing his genre bending music across college campuses and coffee shops while earning a medical degree at William & Mary. These songs serve as a missing link between soul and folk music, suppressed by the harsh political landscape of a music industry heavily influenced by racial stereotypes. “If you were black, you played blues or soul music … I wanted to play folk music,” Cleveland professed. Included in this double LP set is Cleveland Francis’ entire 1970 self released album Follow Me, featuring the original artwork and liner notes printed inside the gatefold. The second LP takes you Beyond The Willow Tree with unreleased demos recorded in 1968 along with one 45 only single recorded in 1970. “These recordings are a look into my soul through a long and lonely journey to understand feelings of my childhood, poverty, racial segregation, bigotry, war, love and hope. It represents my attempt to express and come to terms with all that I have seen and felt as a Black man growing up in America.” – Cleveland Francis

Salutations signals a series of meetings, greetings, group assemblies and exercises along the invisible plane created through correspondence. This is the inaugural compilation of new music from RVNG, inspired in part by a collaboration with Adult Swim. The question of how similar we are arises in the simple form of contact, and how we choose to embrace the potential of that moment and one another. Through correspondence, we connect, communicate, and form community. At first, correspondents with one another, and through the processes of collaboration and transmission, we correspond to parallel and intersecting collective cores. This eternal network, perhaps informed (consciously or subconsciously) by some celestial or spiritual force, becomes a portal to practice social responsibility and an access point to a wider, inclusive universe of information. In turn, the network becomes a human phenomenon, as well as a potent demonstration of art and collectivism. As the world heals, and evolves through future changes, having this network in place provides a vessel to and grow / glow beyond our corporeal state.

〈Record Store Day〉限定商品！オリジナルは五万円越えの高値もつける鬼レア盤につき絶対にお見逃しなく。1970年にイギリスのアーティスト、Christine Harwoodによって、同国のスモール・レーベル〈Birth〉からリリースされた唯一のアルバム『Nice To Meet Miss Christine』がアナログ・リイシュー。King Crimson OBのIan McDonald（サックスとフルート）に、天才ドラマーPete York、Roger Suttonを始めとした英国のプログレとサイケ・フォーク・シーンの銘酒をフィーチャーした傑作であり、ブルーアイド・ソウルからアシッド・フォーク、ヨット・ロック・マニアまでも必見の一枚！

Miller Anderson is a guitarist and vocalist, born on April 12, 1945, in Houston, Renfrewshire, Scotland. Since cutting his musical teeth in bands with Ian Hunter (pre-Mott the Hoople) and Bill Bruford (pre-King Crimson and Yes), Anderson has been a member of such bands as the Keef Hartley Band, Savoy Brown, T. Rex, Mountain, the Spencer Davis Group, and in groups led by Deep Purple's Jon Lord and folk-rock balladeer Donovan. His 1971 debut Bright City was released on the legendary Deram, sub-label of Decca that released new records from 1966 onwards for the likes of Moody Blues, Caravan, Camel and several british jazz-rock legends. The album is a brilliant example of modern folk with lush strings arrangements thanks to guitarist and producer William ‘Junior’ Campbell, leader of the Scottish pop-rock group The Marmalade. A brilliant songwriting alongside a pastoral feeling, gentle melodies and a solid background with several amazing players literally bridging the gap between contemporary pop and blues. Harold Beckett (John Surman, Graham Collier) on flugelhorn and Lyn Dobson (The Keef Hartley Band, The People Band, Third Ear Band) on flute were literally stalwarts of the british jazz-rock and experimental scene, their contributions is behind greatness. Same with keyboard player Mick Weaver another Keef Hartley alumni. The album - faithfully remastered - offers a vision of urban Scotland with a bluesy feel and it has to be ranked alongside the work of such luminaries as Donovan or Nick Drake.

1972-1985 KATEBEGIAK Prog-Rock, Psych-Folk & Jazz-Rock Music from the Basque Country [Compiled by DJ Makala] Music produced in the 70’s in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80’s, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60’s and 80’s music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60’s generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80’s one on the other hand, worked in a ammable environment in constant social and political con ict and found in punk the perfect way to express their anger and weariness for so many unful lled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the “classic” names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70’s generation and their music works somehow as the “missing link” (“katebegia” in Basque) between the two. They loved folky tunes and don’t forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80’s boys and girls found punk the 70’s guys found a completely di erent sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong,... and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that’s what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, Dj and producer of worldwide scope and wisdom, noticed this fact rst and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music. (Text: Antton Iturbe)

Terry Callier, famous for his spiritual soul trilogy for Cadet in the 70's, released his first album on Prestige in 1968, recorded at the age of 19. The album is a masterpiece of spiritual jazz-folk, with elements of traditional folk under the influence of Bob Dylan, and a jazzy, acoustic performance by two bass players influenced by Coltrane.

Debut album released in 1969 by Nick Drake, who is regarded as a genius singer/songwriter who died young. 180g Vinyl.

"Applying elements of minimalism or electronic music to their compositions, Carcascara's second studio album is deeply rooted in folk, blues or jazz. Borrowing from American primitivism, this acoustic guitar trio based half way between London and Zumaia, stretch the boundaries of tradition with a fluid and developed command of the string instrument. Coming out 14 years after their self-titled debut, highly recommended for fans of Robbie Basho, Steve Reich or John Fahey."

Recorded at the infamous Spahn Ranch in 1970, while their leader Charles Manson was facing trial for the murder of Leno and Rosemary LaBianca, The Manson Family Sings is a highly disconcerting listen. Beneath the harmonic brilliance and folksy innocence of these campfire-styled recordings are the hallmarks of Manson's twisted worldview, rendering a dystopian edge to what is otherwise compelling singalongs. Squeaky Frome, Brenda Gold, Gypsy Share and Sandra Blue all feature, with Clem Grogan fronting the beast, the end result being some of the freakiest and troubling songs you are ever likely to encounter.

Wewantsounds is delighted to announce an ambitious Makoto Kubota reissue program with his three albums recorded with The Sunset Gang between 1973 and 1977. Makoto Kubota has been one of Japan’s true musical innovators and following his involvement with Les Rallizes Dénudés in the early 70s. the classic album 'Hawaii Champroo' from 1975 developes a unique sound bringing American, Hawaiian and Okinawan music influences to his own Japanese folk music mix. It was recorded in Honolulu in 1975 and co-produced by Haruomi Hosono, The album has been newly remastered by Makoto Kubota and this is the first time it is released outside of Japan.

Songs 9, 11, 12, 13 by Myriam Gendron; 1 by John Jacob Niles; 8 by John Jacob Niles / Myriam Gendron. All other selections: traditional revived by Myriam Gendron. Recorded at home, early 2021. Mixed by Myriam Gendron & Tonio Morin-Vargas. Produced by Myriam Gendron, Eric Villeneuve & Tonio Morin-Vargas. Mastering by Harris Newman at Grey Market Mastering. Chansons 9, 11, 12, 13 par Myriam Gendron ; 1 par John Jacob Niles ; 8 par John Jacob Niles / Myriam Gendron. Toutes les autres pièces : traditionnelles ravivées par Myriam Gendron. Enregistré à la maison au début de 2021. Mixé par Myriam Gendron & Tonio Morin-Vargas. Réalisé par Myriam Gendron, Eric Villeneuve & Tonio Morin-Vargas. Matriçage par Harris Newman chez Grey Market Mastering.

180-gram reissue of John Fahey's 1972 major-label debut. "In the liner notes for this wonderful disc, sideman Chris Darrow comments, 'I remember the first time I ever heard him, I thought they'd turned the record from 45 to 33 or something, 'cause I couldn't believe how slow he played.' One of the (many) great beauties in Fahey's approach is just that: he takes his time and savors every last resonance he can wring from his guitar. This 1972 release was his first for a major label (originally on Reprise) after more than a decade of issuing work privately or on small imprints, and also the first instance of Fahey having access to a large ensemble of musicians, including a brass and string section. Still, the extra players don't come close to swamping the session; Fahey is very much in the foreground and a number of the pieces read, essentially, as solo performances. It opens with 'Steamboat Gwine 'Round de Bend,' as gorgeous an example of Fahey's slide guitar work as he ever recorded, languid, soulful, and profound. Similarly, his medley of 'Deep River' and 'Ol' Man River' is steeped in Delta humidity, lazily floating downstream. The tracks with the brass band raise the ghosts of Dixieland, while some of the string accompaniment may recall Van Morrison. In any event, Fahey, major label or not, is simply himself, leisurely rolling along, sharply perceptive in his observations and sumptuously gorgeous in his evocations. A fine effort and certainly something that belongs on the shelves of any fan of the late, very great guitarist." --Brian Olewnick, AllMusic