MUSIC
7441 products
"What Can I Say" is from the CD reissue of Kick Me Hard by one of our favorite bands ever, NRBQ. "Yellow Sarong" is by The Scene Is Now, from their first album, Burn All Your Records, on their label, Lost. A really great album, as are their other two, Total Jive and Tonight We Ride -- you can never say enough about The Scene Is Now. Cat Stevens wrote "Here Comes My Baby" and did a pretty good version of it, too (really), but we didn't hear it until recently. We learned it from the Tremeloes, who had a hit with it somewhere in the '60s. "Emulsified: was the handiwork of Rex Garvin and the Mighty Cravers, and we found it on the incredible swell compilation At The Party, which no record collection should be without, Candy Records. It'd be difficult to wholeheartedly recommend the Escorts' From The Blue Angel reissue on Edsel, but equally hard to come down on an album with "The One To Cry." "Griselda" was sung by Peter Stampfel on the Rounder album, Have Moicy!, a record only Stephan Wichnewski could dislike. "Speeding Motorcycle" is on Daniel Johnston's Yip Jump Music, pressed up by Homestead. "Andalucia" is on John Cale's Paris 1919 (we recorded "Hanky Panky Nohow" from the same LP for a Ruta 66 compilation, with Georgia singing, and maybe that'll be out before too long). "Oklahoma U.S.A." originated with Muswell Hillbillies by Ira's all-time faves, The Kinks. "Tried So Hard" can be found on the Flying Burrito Brothers' 3rd album, the first without Gram Parsons, no classic. Fairport Convention also did it on Heyday; and of course, Gene Clark did it too, but it slips my mind as to where. "You Tore Me Down" is from Shake Some Action by the Flamin' Groovies, and if it's on that CD thing that came out last year, all the more reason to pick one up. And these are our second cracks at "Did I Tell You" and "Barnaby," which can be found on New Wave Hot Dogs and President Yo La Tengo respectively (as well as together on our de-lux CD) -- and we use the word "found" primarily as a figure of speech. Dave's group, the Schramms, with Al on electric bass, just released their Okra LP, Walk to Delphi.
To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.
To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.
In "Everybody Loves the Sunshine" (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of 70s Black music. Summertime soul classic! 180g vinyl.
Ted Lucas’ Images of Life is a retrospective tracing the full scope of the Detroit songwriter’s work, drawing on hundreds of hours of tapes preserved by Lucas himself. Spanning early band recordings through to previously unheard later material, it captures an artist constantly reshaping his sound. Disc one, Strange Mysterious Sounds (1965–1970), documents his time with The Spike Drivers, The Misty Wizards and The Horny Toads, moving from garage rock into psychedelia. Rainy Days (1970–1974) shifts to intimate, acoustic solo recordings in the vein of his OM album. The final disc, Impossible Love (1979), presents a long-lost second album, revealing a more polished, hook-driven approach without losing his distinctive voice. A deep and revealing archive of a singular talent.
On the third day at Betty’s, Chris Rosenau woke up with a hangover. The night before, Nick Sanborn had played an all-electronics duo set with GRRL in the basement of a Durham club called The Fruit, so Rosenau—his friend for two decades, occasional collaborator for half that span—had tagged along. They were, they half-joke, the two oldest people in the club, so they went at least a little bit hard. Flip this record over, and there’s Rosenau that night, vodka and soda (with limes, please) in hand and looking delightfully impish. The next morning, in the middle of making their second record together, they were a little slow to wake, even slower to fully rise. In October 2017, Rosenau had flown from Wisconsin to North Carolina to spend a weekend recording with Sanborn in his little home studio. After years of knowing one another, their collaboration seemed inevitable but also accidental, a music-festival lark that had immediate chemistry. As they were rehearsing with the windows and doors open in those first perfect days of Southern autumn, they realized they were actually already making a record. They kept the working mixes and titles from that weekend, as well as the bird songs and traffic sounds that drifted into the microphones. The result was 2019’s Bluebird, a little five-track wonder that made you feel like you were sitting in the living room between the two, smiling as they found their wordless rapport. Two years later, as soon as Sanborn had set up the basics at Betty’s, his residential studio in the woods near Durham, Rosenau returned. They had fun during round two, but the sessions were neither as carefree as that first attempt nor more focused in a way that felt compelling and new. The pair decided to shelve those pieces for then and try again when the time seemed right. (They have, by the way, returned to those tracks fondly; expect to hear them in the future.) Then there was a pandemic. There were tours. There were other records. There was life at large. By the time Rosenau ventured back to Betty’s to try again, in February 2023, four years had flashed past. Both Sanborn and Rosenau came prepared this time by, well, un-preparing. Rosenau borrowed an unconventional guitar tuning he’d never tried (DAEAC#D) from a friend. And Sanborn dismantled his live Sylvan Esso rig, rearranged it, and added new bits, hoping to eschew any muscle memory for a real-time exchange with Rosenau. They instantly knew it was working, with none of the past’s second-guessing in tow. On that first day, a Thursday, they made “Ghost Sub” and “Harm.” On that second day, they had a false start with a piece called “Kay,” Sanborn’s synths not quite fitting beneath Rosenau’s riff, before moving on to make “Deltas.” (Once again to the cover: That’s the chord structure alongside Sanborn’s setup, superimposed on Rosenau’s face.) Back to that third day. When the pair finally got back to bleary-eyed work, they decided to give “Kay” one more go. Sanborn set the electronics aside and sat down at the piano. There was a false start, preserved here, but what followed was a sublime aubade, like waking up tired only to be stunned and stirred by the light suddenly outside. It is the sound of stirring to life and loving it there, and it is the little jewel at the center of the six songs they recorded that weekend, the six songs presented here in the exact order they made them. They finished “Two” just before Rosenau split for the airport on Sunday afternoon; it is a long goodbye, sweet and sentimental and sad, a last talk from two friends who have enjoyed their time together. At the end of “Gentleguy,” the first track on Bluebird, Rosenau, after a long pause, says, “I think that’s pretty good.” His voice is pitched up by a trace of uncertainty, as if “think” and “pretty” are the most important bits of that sentence. When “Deltas” wobbles to its beautiful end toward the middle of Two, Rosenau comes in again, his voice almost boisterous: “That was…” The tape cuts, but you don’t need to hear what he says to know what he says. That was good, perfect, the thing we were looking for, just right, pal. This is the way Two feels start to finish—two friends, firm on their footing with one another, digging into their beautiful exchange. Grayson Haver Currin Bar-K Ranch, Colorado October 2025
The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released their first album『Ninh Binh Brother's Homestay』in 2020. It contains ten tracks of primitive, beautiful acoustic sound, capturing the breathtaking scenery crafted by nature and the local atmosphere and scents that rise from the time drifting within it.
In the words of Emma Warren:
Alabaster DePlume is not doing things properly, and this makes him very happy.
DePlume is a Manchester-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid, Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. Whilst much of his music contains vocals – often whispered imperatives – this is a collection of instrumentals, drenched in feeling and recorded over four albums and eight earth years in cities across the UK.
The music of "To Cy & Lee: Instrumentals Vol. 1" contains naturally elegant orchestration wrapped around something visceral and primordial. Swirled inside the 11 pieces are shades of Japanese Min’yo folk, Celtic folk, the Ethio-jazz of saxophonist Getatchew Mekurya and hints of the pan-human ‘ancient music’ that sat underneath Arthur Russell’s melodies on First Thought, Best Thought. The music is filled with space, inspired, he says, by computer games and Japanese animation, particularly Joe Hisaishi’s soundtrack for Studio Ghibli’s Castle In The Sky.
The record combines new compositions alongside bygone instrumentals and understated lullabies that feel like they’ve been picked from between the cracks of civilisation. These songs were collected from albums "Copernicus," "The Jester," and "Peach" – under-the-radar records that preceded his critically acclaimed 2019 release The Corner of a Sphere. The new tunes feature Dan ‘Danalogue’ Leavers of The Comet Is Coming and Sarathy Korwar alongside a host of London’s finest musicians.
To Cy & Lee… has a suitably individual genesis. DePlume was working for Ordinary Lifestyles, a charity in North Manchester which supports people with disabilities to live in their own homes and to live fulfilling lives. Specifically, he was working with the titular Cy and Lee. His job was to get the guys socialising and he did this by making up songs with them. They’d make up melodies together, humming tunes in the house when they needed something calm, or when they were haring round the city in a battered car. DePlume would record these impromptu sessions in his phone, then go to the studio and use the material as starting points for songs.
He also ran music sessions for Cy, Lee and their friends. “People would focus on a central point, tuning in to one another. There are things we can’t put into words, which can be expressed with sound and music. These guys have fewer words than us, some of them have none. When we put some feelings into a music expression – that’s liberation.”
It’s a method he uses in live shows wherever possible, placing himself and the musicians in the round. The aim is to maximise the creative benefits that a community of players and listeners can bring to the music. It’s a collectivist and humanist approach to making music that sits underneath everything he does. This is music made for a reason, and those reasons include – to paraphrase some of the catchphrases he uses both on stage and in conversation – mixing people up, asking everyone to be as much themselves as they possibly can and the hardcore encouragement expressed in his most popular line, shouted back at him by audiences wherever he goes: “You’re doing very well!”
Practically, he purposefully brings together players of different skill levels and different backgrounds so they have to interact differently, placing them in unusual situations in which to record. “I wanted to destroy the idea of correct so we were playing it different ways for fun. We had a very magical time playing the tunes”. This is activism expressed through gorgeous music that breaks down barriers by encouraging that most powerful emotion: connectedness.
One source of these gorgeous instrumentals is "Peach," an album that later bestowed a name upon legendary monthly sessions he’d run once he’d moved to London. The music was recorded in the middle of the room at Antwerp Mansion, around a big dinner cooked for 60 people.
“The dinner made the air vibrate in the way it did. We did it a certain way, for fun, getting people to shout out instructions – ‘make it like a hangover!’ ‘Make it like a barrel rolling down the ice!’ And we did it that way. You’ve got people eating and drinking around you and they might shout out anything. You can let go and respond.”
The two new pieces were recorded at London’s now-famous Total Refreshment Centre with Danalogue (on piano) Sarathy Korwar (drums), Chestnutt (of Snapped Ankles, on synth), Donna Thompson (voice) and James Howard (guitar). They had a day to record, and DePlume was in post-gig exhaustion. His saxophone was as battered as he was and was failing to play certain notes. “When something is broken or absent or missing, you go around it and that’s what makes it good,” he says. “Then it belongs to that moment. I want to make things that belong to the moment.”
DePlume’s politics might be more evident in vocal songs from his live repertoire when he’s reshaping advertising slogans into a call to arms or encouraging activism on “I Was Gonna Fight Fascism,” but his commitment to the cause is as palpable through the instrumentals of Cy & Lee... This is music designed to respond to what Russian revolutionary poet Mayakovsky described as a “social command.”
“I like the idea that we’re not just doing frivolous decoration. We’re doing work for society. I like to listen for what needs to be said.”
“Years ago I played a bit of sax in other people’s gigs. I realised I was waiting for someone to give me permission to do my own thing. I noticed that no-one will ever give you permission to do your awesome shit, because they don’t know what it is. It’s impossible for them to give you permission. Who gave me permission to talk to you like this? I gave myself fucking permission.”
Alabaster DePlume is not doing things properly. Hallelujah.
From Tsugaru, the birthplace of Tomokawa Kazuki and Mikami Hiroshi, comes Osorezan, Itako, Nebuta, Kesho Jizo... A super intense work left behind in 1978 by Furukawa Mibu, the Orpheus (mind) of Mutsu, who sings of the magical machinery that connects this world and the next! A shocking analog LP reissue!
Mibu, who is also a poet, pretends to be the dead in order to live on as the skin of his younger brother (Mibu), who died at the age of three. The song becomes a prayer and a cry, dancing wildly through this world and being sucked into the afterlife. Fringe music with such intensity. The soul is revived precisely because it is analog. This incredible masterpiece was selected as one of the "New Masterpieces of Japan 1970-89" in the November 2011 issue of "Recocolle," and is too good to be forgotten! This elusive album, produced in 1978 and only available as an independent release, is finally being reissued!
Comes with a 20-page explanatory booklet, "Mibu: To the Wind and Earth of Tsugaru"
Haruomi Hosono's Tropical Dandy receives its first-ever international reissue. Originally released in 1975, Tropical Dandy is a cult classic that marked Hosono’s shift toward genre-blending, fusing exotica, jazz, and pop to lay the groundwork for Japanese City Pop – described by none other than Van Dyke Parks as "cinematic romance with sonic texture."
Classic black and limited edition Ocean Blue. 180-gram vinyl, pressed in the US featuring exclusive OBI and a new translation of Haruomi Hosono's 1975 liner notes.
Caught between the Canyon and the Caribbean, Cathy Hamer's pair of extremely private LP's got lost in the Me Decade's hippy hangover. Tracked in '79 and '80 at Roanoke, Virginia's custom bluegrass powerhouse Threshold Recordings, these 11 originals breeze through all colors—folk, country, yacht, etc—of the cosmic American rainbow. Remastered LP comes housed in a tip-on
Okraina Records present an LP by Mauricio Amarante and Marine Debilly Cerisier as Amarante-Cerisier. "What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline. This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (Radikal Satan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the 1990s and 2000s."
Nick Drake’s final masterpiece, Pink Moon, released in 1972. It is an album of eternal resonance—a solitary soul’s delicate balance between a quiet prayer and a silent resignation.
Released in 1969, Five Leaves Left is Nick Drake’s debut album. Produced by Joe Boyd and recorded at Sound Techniques in London, the record features leading figures of the British folk scene, including Richard Thompson and Danny Thompson. Widely regarded as a landmark of British folk, the album showcases Drake’s delicate vocals, intricate guitar work, and beautifully arranged strings.
A collection of intimate songs traced from the spectral darkness by Asahito Nanjo, the notorious leader of some of Japan’s key underground psychedelic units (High Rise, Mainliner, Musica Transonic, Toho Sara, etc) Recorded between 1980 and 1988 and previously only available in a cassette micro-edition released by his La Musica Records label in the mid-1990’s. Remastered and available for the first time on vinyl and digital. “A compilation of secret projects recorded over a period of twenty years. Deeply personal music that achieves a strange balance between beat folk balladry and off-key mumbling. Suggestive self-celebratory music conceived as a confirmation of existence.” – original La Musica cassette notes A lesser-known side of Nanjo Asahito – if all you know of his work is the overloaded, intensified psych-rock and free-sound of his group projects then the solo songs on M gently redraw the contours of Nanjo’s private universe. There’s something gem-like in the way these five songs are formed, even as they accrue grit and dirt while drifting out of the speakers. Here, Nanjo grabs handfuls of gentle chord changes, allows them to rotate in the air, suspended in reverb, flickering in half-light, as he murmurs drowsy melodies. The closing “Eucharist” pushes everything through a thin layer of distortion; elsewhere, tinkling piano, from guest Matsuoka Takashi, who also performed with Keiji Haino’s Nijiumu, disturbs dust molecules to dance through hazy air.
Twelve years in the making, a new record by Portland's idiosyncratic master of ultra modern folk music Dragging An Ox Through Water. Old school electronic oscillations and blips meet solid guitar playing and singing. The lyrics alone are worth the price of admission. Nothing obvious is ever said and every word gleans with layers of meaning. Dragging An Ox Through Water is Brian Mumfords' cult long running art music project. Beloved in Portland. Willfully underground. The real stuff. A modern masterpiece.
ノスタルジックな深夜の音楽。20世紀前半のギリシャで流行した大衆歌謡であるレベティコの偉人であるGiorgos Katsarosによるスティール弦ギターとヴォーカルによる、時代を超えた魅力を放つ素晴らしい演奏をコンパイルした画期的編集盤が〈Mississippi Records〉と〈Olvido Records〉の共同でリリース。Katsarosの現存する初期の64の録音からリマスタリングされた貴重な10曲をセレクトした一枚。催眠的なメロディーが、親指で弾くベースラインの反復に支えられ、その深く悲しげな声が響き渡っています。
On Malarial Dream, Alvarius B. drifts out of Cairo with a fevered, mostly instrumental songbook that bends late‑period Sun City Girls melancholy through Middle Eastern modes, psych‑warped folk and the quiet volatility of a hand‑picked Cairo/avant‑jazz ensemble. With Malarial Dream, Alvarius B. - the solo avatar of Alan Bishop - resurfaces from his adopted home of Cairo with a record that feels less like a follow‑up and more like an apparition. Tracked in and around a tangle of other projects over the past several years, it captures Bishop in a different register from his recent, caustic singer‑songwriter outings. Instead of venomous monologues and cracked torch songs, this album drifts closer to the twilight zone of late Sun City Girls - think Mister Lonely and Funeral Mariachi - where melody, atmosphere and a kind of exhausted tenderness slip in through the back door. The “malarial” in the title is apt: the music moves in waves of clarity and delirium, heat‑blurred and slightly poisonous, yet weirdly soothing. The setting is a psych‑warped folk landscape steeped in Middle Eastern modes and the broader “beyond” that Bishop has been chasing for decades. Mostly instrumental, the record leans on winding themes and small, memorable motifs rather than song‑form in the strict sense. Two obscure covers surface like half‑remembered radio ghosts, but the bulk of the material is original, written to take advantage of a remarkable cast of players orbiting Cairo’s experimental and jazz scenes. You can hear the city in the details: stray percussion patterns that feel like they escaped from a street procession, microtonal inflections in string lines, the way drones and harmonies seem to curl around each other like incense smoke in a too‑hot room. Bishop’s guitar and compositional voice sit at the centre, but Malarial Dream is very much a collaged ensemble record. Adham Zidan, Aya Hemeda, Cherif El Masri and Morgan Mikkelsen - all associated in one way or another with The Invisible Hands - bring a lived‑in flexibility, able to shift from skeletal folk frameworks to denser, almost prog‑like passages without losing the thread. Maurice Louca and Sam Shalabi, known for their work with The Dwarfs of East Agouza, help tilt the arrangements toward trance and destabilisation: keyboards, electronics and guitar colour smear the edges of otherwise simple progressions, turning them into slowly rotating mobiles of sound. Elsewhere, contributions from Amélie Legrand, Asher Gamedze, Eyvind Kang, Hana Al Bayaty, Huda Asfour and Sammy Sayed add strings, reeds and rhythmic detail, widening the palette until it feels less like a band and more like a small, shifting orchestra. The mood throughout is nocturnal, more candlelit than sun‑blasted. Pieces often start with a bare figure - a fingerpicked pattern, a muttered line on oud or guitar, a skeletal rhythm - then accumulate detail: a bowed counter‑melody here, a percussion flourish there, faint electronics seeping up from the floorboards. The psych element is less about fuzz and freak‑outs than about subtle warping: pitches bend just off centre, tempos waver like someone breathing through a fever, harmonies resolve in slightly unexpected places. At times the music settles into a kind of desert‑chamber minimalism; at others, it hints at film score, as if these were cues for a movie that flickers in and out of existence while you listen. Produced by Alvarius B. with Adham Zidan, Malarial Dream carries the handmade, one‑off aura that has always surrounded Bishop’s work, but it doesn’t feel minor or throwaway. Instead, it reads like a sideways summation of where he’s arrived after fifteen years in Cairo: a space where the ghosts of Sun City Girls, Arabic song, free improvisation and private‑press folk records all converse at low volume. For longtime followers, the album offers the pleasure of recognising familiar impulses - the bittersweet melodies, the taste for the obscure, the dark humour lurking at the edges - in a new, humid environment. For newcomers, it’s a gently disorienting entry point: a fever dream you step into halfway through, and leave unsure of exactly what happened, only that you want to go back in.
Released in 2015, this work was recorded in 1982 and 1983, and the following year in 1985, the original 1/4 inch tape of the sound source produced as a test press board called "El Dinosaur", "Indian Ocean" and "Untitled".・From the master, Arthur Russell's partner Tom Lee and
In addition to an unreleased/alternate take that emphasizes echoes and rhythm machines, the instrumental track "Ocean" is one of the most beautiful songs in the discography.
A must-have board for fans that includes "Movie"! !
