City Pop is Benny Sings's sixth album and first for Stones Throw in 2019. Limited color vinyl LP will be released in 2021. (the original LP is sold out)
A sum of Benny's real-life observations and insights on love, held together by his soft rock- inspired songwriting, jazz instrumentation, leading piano and distinctive vocal. The album was inspired by and written in cities all over the world, including New York, LA, Tokyo, Paris and Benny’s hometown of Amsterdam. The album celebrates collaboration, with Mayer Hawthorne, Cornelius, Sukimaswitch (the “Japanese Steely Dan”), Mocky and Faberyayo among the featured artists.
Pressure Sounds 77th album is Jesus Dread! Yabby You, a great roots musician, and King Tubby, the king of dub, are the strongest tag team! It's a mystery! The long sought after track Tr.8 "Deliver Dub" has been called King Tubby's masterpiece!
Nineteen beloved tracks culled from precious 45 rpm dub plates. Vivian Jackson, aka Yabby You, embodied the "struggles" of the streets and was instrumental in raising the spirit of Rastafari in Kingston and establishing roots reggae at its peak. Deeper Roots" reflects the Rasta spirit of the 1970's with King Tubby and is an irreplaceable legacy of Yabby You as an artist and producer, featuring rare singles and dub plates from the era. This album is a record of Yabby Yu's golden years, from which we can hear his unique spirituality, his life in the ghetto, and his music that resonates deeply with the Rasta spirit. The album has rocked sound systems not only in Kingston, but also in London, Birmingham, Manchester, and around the world. His special relationship with King Tavi resulted in the golden age of his career.
01. Valley of Joeasaphat - Smith & The Prophets
02. Joeasaphat Rock - Smith And The Prophets
03. Thanks and Praise - King Tubby
04. Don’t Touch I Dread - Barrington Spence
05. Tutch Dub - The Prophet All Stars
06. Fighting Dub - Tommy McCook & King Tubby Deeper Roots
07. Deliver Me - Yabby You
08. Deliver Dub - King Tubby & Yabby You
09. Milk River Rock - Don D Junior & The Prophets
10. Dip Them Bedward - Prince Pampidoo
11. Dub Them Bedward - The Prophets All Stars
12. Dub Vengence - King Tubby & The Prophets
13. Forward on the Track - King Miguel
14. Caymanas Rock - King Miguel & The Prophets
15. Love Sweet Love Drums - King Tubby & The Prophets All Stars
16. Lazy mood - The Prophets All Stars Deeper Roots
17. Open Your Hearts - King Tubby & The Prophets
18. Poor and Needy Dubwise - King Tubby & The Prophets All Stars
19. Cleo’s Dub - Hot City All Stars
With "Afrique Victime" the prodigious Tuareg guitarist and songwriter rips a new hole in the sky – boldly reforging contemporary Saharan music and “rock music” by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights, inequality, and Western Africa’s exploitation at the hands of colonial powers.
If "Ilana" was a late ’60s early ’70s ZZ Top and Black Sabbath record – "Afrique Victime" is mid-’70s to early ’80s Van Halen meets Black Flag meets Black Uhuru. The ferocity of Moctar’s electric guitar and the band's hypnotic rhythm section are on awe-inspiring display “Chismiten” and the mournful yet incandescent title track. Elsewhere, Moctar finds inspiration in highlighting lesser-known facets of the group: “While people have gotten to know Mdou Moctar as a rock band, there is a whole different set of music with this band done on acoustic guitars, which we wanted to incorporate into this album in order to go through a sonic journey,” he says. Mdou pays homage to one of his heroes Abdallah Ag Oumbadagou, the legendary Niger musician and political revolutionary, on songs “Ya Habibti” and “Layla”. “Abdallah was a contemporary of Tinariwen and helped to pioneer the sound of Tuareg guitar music blended with drum machines and electronic sounds”.
"Afrique Victime" sounds and feels like a Tuareg hand reaching down from the sky, and we are very lucky for this chance to get lifted.
"Pentimento" means "in a painting, the original image, format, and brush flow that has been modified or overlaid reappear." The term accurately describes his innovative style of "painting", creating a new, indescribable, addictive palette by layering subtle differences.
Given the traditional Hassel, this title can be interpreted in many ways. But perhaps the most plausible interpretation at this point is the human instinct to sing and have fun in the face of repeated difficulties. It's the future blues that sang uncertainties and ever-changing shapes. On this album, Hassel is once again adventuring to create new forms and variants of music, incorporating elements of the "fourth world" of the past. It's a thrilling window-like work where you can see what the world's music will be like in the future.
"Jon Hassell is the most influential composer of the last 50 years. His invention, called'Fourth World Music', gives a deep respect to the music of different cultures around the world. He paved the way. His work had a great influence on other artists, through which his musical tastes changed dramatically. His unique intellectual contribution is also noteworthy. He is a patient and eloquent theorist and a great musician. "-Brian Eno
Jon Hassell's greatness in contemporary music history is comparable to Miles Davis, Jimi Hendrix, James Brown, or The Velvet Underground. --The Wire Magazine
Prog Rock & Obscure Groove from Indonesia...! Djauhar Zaharsjah Fachruddin Roesli (1951-2004) was a singer-songwriter from Bandung, Indonesia, who played rock and blues in his early years, dreamed of becoming a writer like his grandfather, the famous writer Marah Roesli, and left behind many unpublished poems, and even wrote acoustic protest songs inspired by Bob Dylan. Djauhar Zaharsjah Fachruddin Roesli (1951-2004), a singer-songwriter from Bandung, Indonesia, who even wrote acoustic protest songs inspired by Bob Dylan. This is a miraculous reissue of a 1976 cassette album by Harry Roesli, the legendary rock band he led!
After releasing an album with the band, he studied at the Jakarta Art Educational Institute and went on to the Rotterdam Conservatory in the Netherlands. After returning to Indonesia, he started an avant-garde project that mixed the sounds of Xenakis, Cage, and Stockhausen with the poetry of Indonesian writer Yudhistira ANM Masardi. The group's activities have been multifaceted, including international performances in collaboration with such luminaries as novelist Putu Wijaya and filmmaker/actor Nano Riantiarno. With nearly 20 performers, the album is a miraculous blend of progressive rock, psychedelic rock, funk, and other sounds with Indonesia's unique grooves, using not only traditional Indonesian instruments such as gamelan and choir, but also western instruments such as synthesizer and guitar. It's a miraculous balance of progressive rock, psychedelic rock, funk, and unique Indonesian grooves!
There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.
Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.
In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.
Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.
Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.
Nearly 50 years on, this “New Music” is born anew.
Daydream Nation was Sonic Youth’s sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen.
Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wider commercial success without compromising their artistic vision.
More recently, Daydream Nation has been recognized as a classic of its era: Pitchfork ranked it #1 on their “100 Greatest Albums of the 1980s”; Spin listed it at #13 on their “125 Best Albums of 1985-2010”. Daydream Nation was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006 and it was voted "One of the Greatest Albums of All Time" by Rolling Stone.