MUSIC

Blind Joe Death is the first album by American fingerstyle guitarist and composer John Fahey. There are three different versions of the album, and the original self-released edition of fewer than 100 copies is extremely rare.

Original compositions inspired by the words of Omar Khayyam, arranged and conducted by Richard Evans. It is an oriental and exotic masterpiece that reflects Eastern thought while incorporating elements of African music, such as kalimba, with Japanese koto and harp. Recorded at Ter-Mar Studios, Chicago, November, 1969 - January, 1970. Published by Wiljean Music

Whether it’s Hip Hop, it’s face pointed reverentially to the Old School, or House stealing Disco riffs by the truck load, people are increasingly intrigued by back-in-the-day. And common to both the aforementioned scenes and much more is one person, Arthur Russell, a man some regard as the best songwriter of the 20th century. In 1981 Arthur set up Sleeping Bag Records with Will Socolov. The first release was the album “24-24 Music” as Dinosaur L. If you’re wondering about the name it would appear Arthur would often use the names of extinct or near-extinct animals. On one production credit he’s “Killer Whale, whilst the logo for Sleeping Bag is a Koala bear! Will remembers how they came up with the name for their label. “We were joking about names, and James Brown was on with “Papa’s Got A Brand New Bag” and I was sleeping in a sleeping bag in my apartment and I kind of made a joke about that, and Arthur said that was a great idea for the name of the company!” The line up was pretty much the same as the Loose Joints sessions, (which boasted the Ingram Brothers rhythm section) and a similar stream-of-conscience approach was taken with the recording itself. Russell arranged the beats so there’d be a change every 24 bars (hence the title) and the band would have to improvise the songs over the top. He also made sure he went into the studio when there was a full moon! The album is again very experimental, and makes occasional uneasy listening but the same magic is very much in evidence. Arthur would continue to be involved in production and mixing duties for the label, but parted company with Socolov in 1985. Arthur sadly died of AIDS in 1992 leaving behind many songs; as one obituary put it, it was though he simply vanished into his music.

Guitarist RUSSELL POTTER's A Stone's Throw (1979) and Neither Here Nor There (1981) reissued via Tompkins Square - LP & Digital June 25th

The latest in a series of reissues spawned from Imaginational Anthem Volume 8 : The Private Press, following Tom Armstrong - The Sky Is An Empty Eye and Rick Deitrick - Gentle Wilderness/River Sun River Moon

Reflections on Russell Potter by IA8 co-producer and poet, Michael Klausman :

The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion.

A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags.

Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time.

Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.”

Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.

Media Condition: NM  Sleeve Condition: VG+

A1 Raga Puriya Kalyan
B1 Raga Averi-Bhairabi with Ragamala

Uruguayan groove and multicultural sophistication – 40th anniversary special edition, 500 copies, including 20 page booklet. 
With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.

Media Condition: EX+  Sleeve Condition: EX

A Jugalbandi : Sarangi & Flute - Raga Maru Behag : Tritaal
B1 Flute Solo : Raga Gorakh Kalyan : Jhaptaal
B2 Sarangi Solo : Raga Ras - Mohini Taal Roopak

This collaboration by Tokyo producers/musicians Shintaro Sakamoto and VIDEOTAPEMUSIC is the first of two EM Records 12-inch vinyl-only “tribute releases” in support of the film “Bangkok Nites”, produced by Kuzoku. Based on samples from Dao Bandon, Hongthong Dao-udon, Phairin Phonphibun, Thailand and Tokyo dreamworlds meet in these songs.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

Emerging on vinyl for the first time since it’s original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Side A: Motore immobile 16:59
Organ: Danilo Lorenzini, Michele Fedrigotti
Violin: Giusto Pio
Voice: Martin Kleist

Side B: Ananta 13:58
Organ: Danilo Lorenzini
Piano: Michele Fedrigotti

A masterpiece by Brij Bhushan Kabra, the master of Hindustani classical music on guitar! In India, the guitar was introduced by Hawaiian musicians in the 1920s, and later became widely popular in popular music and film music. He studied under Ali Akbar Khan, who deepened his knowledge of the instrument, and his music has a classical depth as well as a calm, relaxed mood and lightness. This may be due to the fact that the guitar is free from the weight of continuous performance tradition. The method of playing the guitar is also unconventional, as it is played horizontally on the lap, and I think there is a fascination when one follows one's own inner desires and creates something that has never been done before. I recommend this album to anyone who loves Indian music and guitar, or anyone who just wants to relax and unwind. It has been newly remastered and is only available in one pressing, so don't miss it. This is the original 1982 release with the world famous tabla player Zakir Hussain.

Augustus Pablo's first album, released in 1974, is a masterpiece of his stoic and exotic Far East sound.

Produced by Linval Thompsonp, Revolutionaries' 1979 dub masterpiece has been reissued in 180g weight.

From London, UK, comes a new star in the Dub world! Electro-funk producer Lord Tusk's reggae dub name, Sons of Simeon, has finally released his killer debut! The tenth release from Riddim Chango is the debut 10" single from London, UK-based producer Lord Tusk's reggae dub label Sons of Simeon. Funkin Even's Apron label and John Rust's Levels label, as well as working with legendary US MC Mos Def on an album and releasing a Vaporwave album under the name Sun Runners, Lord Tusk is known as a big sound system fan. He is also known to be a big sound system fan. Lord Tusk's killer Dub/Stepper was mastered at Transition Studios, known for their work with DMZ. The sound of the sound system is guaranteed stable!

Don Drummond (1932-1969), the great trombonist and original member of Skatalites, remade the killer number Last Call! In the 80's, the song was remixed by Jah Shaka, and this re-recording featuring veteran DJ Ranking Joe is just as tense and killer!

Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.

Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.

From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.

All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.

The American jazz-funk/boogie group Ambiance, led by Nigerian player Daoud Abubakar Balewa, who played saxophone, flute and clarinet, was active in LA from the late 70s to early 80s. spiritual jazz funk/fusion masterpiece released by Ambiance in 1980! This is the first analogue reissue of this spiritual jazz funk/fusion masterpiece from the connoisseurs HIGH JAZZ! "Drift Up To Space" is an anthem with sweaty interplay that explodes from the very beginning, and "Devika" is a spiritual jazz fusion that blows a cool breeze with divine grace. Just By Chance" with the amazing female scat is also amazing!

Weirdo-rockabilly, early pop-electro, great drums, haunting. from collection of 45s

Swedish composer Ragnar Grippe gets an old collection released on Dais Records (Genesis Breyer P-Orridge And Thee Early Worm, SRSQ). Written in 1981 for an avant-garde theatre piece but only now seeing the light of day, Symphonic Songs finds Grippe marrying atonal Buchla experiments with a string section equal-parts Schnittke and Schoenberg. Artwork by Ascetic House founder J.S. Aurelius.

A masterpiece of sock jackets that became a trademark !! The famous experimental rock band Henry Cow's 1st album in 1973 by Fred Frith and Tim Hodgkinson !! The reissue from the home base [ReR] is finally repressed this year. !! A great lifeline leading to "Rock In Opposition". With the tremendous influence of pioneers such as Soft Machine and Frank Zappa as the undercurrent, Avant Rock has been elaborated with unparalleled precision. There is no arrogant arrangement, and the mystery of free-form improvisation explodes without being disturbed. Definitely one of the best in the Canterbury scene. If you haven't experienced it yet!

約50分に及ぶ4つの未発音源も追加収録！吉村弘、高田みどり、イノヤマランドにも並ぶ国産ニューエイジ/アンビエント最大級の再発案件が到来です！日本が誇る孤高のアンビエント作家、広瀬豊がそのカタログ2としてMisawa Homeレーベルに残した1986年の唯一作が、高田みどり、Colored Music、Normal Brainと日本の音楽秘境も発掘してきたスイス発の最重要再発レーベル、We Release Whatever The Fuck We Want から拡張版となって初となる公式CD/ヴァイナル・リイシュー！元々は、1986年から1988年にかけて、ミサワホームのプレハブ住宅のための『Soundscape』シリーズの一環としてリリースされるも、昨今のニューエイジ再評価の流れで一気に高騰・入手困難と化していた一大傑作！静謐なミニマリズムが呼吸をし、水や虫、鳥などの声のフィールド・レコーディングやまばらなベルの音、ピアノ、シンセサイザーなどが用いられ、大自然の原風景をも思い起こすような神秘的なアンビエント・サウンドを描き出した伝説の一枚。母体回帰のような類い稀なる美しさを秘めた作品です。本人によると「いわば、音楽というよりは、音の彫刻」であるという、インスタレーション用に製作された50分に及ぶ当時の未発表音源も追加収録。デラックス・ゲートフォールド・スリーヴ仕様。本人によるライナーノーツが日本語&英語で記載されています。これが数年前まではレコ屋やリサイクルショップで投げ売りされていたと言うんだからとんでもないことです。

What is HIP HOP Global? What is local? The new work of JUU4E, a Thai rapper who repaints the hype-covered , is a light of hope for pan-Asian music in the 21st century, and is a black ship released to the world. No, if it was a black ship that appeared dignifiedly in the daytime, this work is a small smuggling ship that sews the night and crosses the sea to carry .

TRAP beats born in Atlanta in the United States have become a common language in the world and continue to produce replicas, and as in Asia, many acts appear and disappear, and rappers from countries such as South Korea, Thailand, and Indonesia have been attracting attention for a long time nowadays. "YouTube play XX million times!" "Instagram follower XX million people!" Such phrases flew around, and the rapper made full use of social media to aim for monetization from a single buzz. It is JUU4E that strongly expresses and continues to create original HIP HOP.

JUU4E is a rapper who has been respected as an OG in Thailand, where young talents are appearing one after another, and has established a unique standing position. In the previous work "New Luk Thung" (2019), under the production of Young-G of stillichimiya / OMK, a masterpiece that is the latest HIPHOP and the latest Luk Thung by eclectic Thai omnivorous ghetto song, Luk Thung with HIP HOP. I made it. This work shocked both inside and outside the country, such as being nominated for the prestigious RIN (Rap is Now) annual best in Thailand, but when this "New Luk Thung" was released, in fact, this work "Idiot World" was already produced. Was starting.

This work is all self-produced by JUU4E. The lyric that interweaves Thai, Japanese and English, the stretchable flow, and the track that has a lower center of gravity than the previous work and is boiled down in dubby are the same as the previous work that chewed HIP HOP / TRAP and made it completely own, but it should be noted. Is a point where you can feel the intention to strongly represent . Ron Gen, a Japanese folk song influenced by Malaysian music, and Teresa Ten's songs that JUU4E has been accustomed to since childhood are quoted, but they have been incorporated into JUU4E. Is lightly slashing the masquerading global and exoticism that world music once had, as well as the self-orientalism that is innocently rampant in the current Asian hip-hop.

If you touch this work by biting the information that floods the net with HIP HOP hot in Asia, you're lucky. I want you to be stupid by all means being overwhelmed by the lyrics that challenge the "stupid world" head-on and the sound that is bitten by overwhelming freedom.

CHINZADOPENESS, Stillichimiya (Young-G, MMM, Dengaryu, Mr. Maru, Big Ben) participated!

Here is the latest version of HIPHOP that America doesn't know yet. Juu, a Thai talent who represents Asia and locals from the opposite direction of 88rising, and therefore creates completely fresh music that can be used globally. Captain Beefheart with Autotune? Is it a drake on a buffalo? The 1st full album "New Luk Thung" is finally dropping!

Who is Juu? Thai HIPHOP scene where attractive acts appear one after another. Among them, Juu is respected as an OG, but it is extremely difficult to catch its existence from outside Thailand. Singing in Thai, there is no physical, OMK (One Mekong) traces the trace that existed only on Youtube and succeeded in contact. In 2017, he was finally invited to perform his first live concert in Japan, revealing his unusual musicality and character. The groove of the hi-hat that is too thick and finely carved is that of TRAP or later, but the flow that expands and contracts freely, the linguistic sense that mixes English, Thai, Japanese, Koshu valve, and the rich Thai music classic All of them (and their funny personalities) showed that they were in a completely different dimension from the world-famous TRAP copycats.

This is Juu's first full-length album, which was completed in about two years after the talents and OMK members collaborated with each other and started co-production with the lead of Stillichimiya / OMK's Young-G. Most of the tracks are in Young-G's hands, and the sound is also full of ambitions that reflect OMK's attitude. Thai instruments such as chin, cowbell, cane and pin are used everywhere, but never used for exotic seasoning. In order to inject the original beats and grooves in Thailand, they are inevitably incorporated. And what oozes out in the mellow song is the flow (singing heart) that is similar to Luk Thung and Japanese enka. They create an indescribable "new song feeling" through Juu's background HIPHOP and reggae.

As the title "New Luk Thung" shows, this work is a Pattaner (* 2) of the dying Thai song genre Luk Thung (* 1) with cutting-edge HIPHOP. Like HIPHOP, this music called Luk Thung cites (samples) and revives past classical music many times. And like HIPHOP, the lyrics (lyrics) are also very important music. The feature of this work is that the manners common to Luk Thung and HIPHOP have been completely digested without contradiction. The title of this work comes from Juu telling Young-G that "this is New Luk Thung" in the process of production, but this is an inevitable name. This work is both "latest HIP HOP" and "latest Luk Thung". In the world of Juu's poetry, which is respected as the best "master poet" in the Thai HIPHOP world, please check out the complete translation, which was extremely difficult to translate.

In addition to her classic low-tech processing based on analog tapes, this work is a new frontier with multiple layers of synth sounds, tape loops, sampling of voice and instrumental sounds, and participation performances by friend musicians. The result is a mysterious music that is unclear whether it is 300 years old African folk music, a spliced folk song of some country, techno or experimental music, and the coolest 2013 latest contemporary music. .. A 35-minute hypnosis with a tingling sensation and an analog mellowness ... This may be the front-line rock.

Post-Plurrian? EG ?? The return of Muslimgauze ??? The strongest active rhythmic noise / drum'n'noise techno girls, shocking Alexandra Atonif!

80s Noise / Industrial Music There is no doubt that you will be fascinated by listeners from the golden age to experimental techno freaks these days! !! Romanian-born and now LA-based female musician Alexandra Atniff advocates the music "Rhythmic Brutalist" inspired by the architectural style "Brutalist" that prevailed during the Cold War.

She doesn't use any vintage synthesizers or expensive equipment, and uses freeware to release just bare concrete-like beats. The track group with its decoration removed already has a terrific sensation reminiscent of great ancestors such as Esplendor Geoméco. While maintaining the functionality of minimal techno, the vibes that noise / industrial music lost after passing club music, the one and only sound that makes you feel ferocious, sets it apart from existing industrial techno. There is.

This time, A.A himself reworked the independent album, and released the newly edited "Rhythmic Brutalist Vol. 1" as EM Records Edition and the sequel "Same Vol. 2" at the same time. The impression is different from the "1st collection", which is closer to minimal techno, and the "2nd collection", which is more abstract and closer to electronic music, but the whole story is full of brutalist architecture. Brin Jones must nod in the shade of the grass!