- Lowest Price
- Highest Price
Plutonian Nights/Reflects Motion (Part One) (Awaiting Repress)Plutonian Nights, the opening jam from the 1959 Afrofuturist classic album Nubians of Plutonia, is Sun Ra's quintessential, astro-majestic party joint. Among the top grooves in his immense catalog, Ra reveals his love for R&B is inseparable from his embrace of Jazz. (He once told bassist Richard Evans, We don't play Jazz, we play Dazz.) Pat Patrick's bari sax morphs into a Fender bass, while the swinging flow of John Gilmore & Co. gives new meaning to the notion of 'Blowing' (Out From Chicago).
Remastered for top-down cruise control and better breathing. Reflects Motion is breakbeat heaven from the groundbreaking early-60s Choreographer's Workshop sessions, long buried in the deep space vaults. Marshall Allen's flute whispers betwixt Scoby Stroman's drums transmuted via Tommy "Bugs" Hunter's ghostly signature tape reverb. Down to the striking reminiscence of the vocal melody pattern, a direct predecessor (two decades prior) to King Tubby meets Augustus Pablo. Inna Space-Fire Dub Style.1. Plutonian Nights
2. Reflects Motion (Part 1)$9.997 Vinyl Single - Sealed AWAITING REPRESS Buy Now
The Wild Style Breakbeats
13 Songs Total, Spread Out Over Seven Big Hole 45s(each With A Different Label Color)
Re-Edited And Re-EQed Extended Audio Versions Of Each Song, From Original Reels
Extensive Liner Notes In A 28-Page Book, Including Dozens Of Images - From "Wild Style" Director Charlie Ahearn, Among Other Sources - As Well As Interviews With Fab 5 Freddy, Chris Stein And Grandwizzard Theodore
The 14th Side (The B-side Of The Seventh 45) Features Unique Etchings With Different "Wild Style" Graphics
Unique "Kay-Dee Casebook" Packaging - All Seven 7-inches Fit Into A Book As Self-contained Pages
KAY-DEE RECORDS, the online store and label owned and operated by Kenny Dope, takes things to the next level with the debut of its "Book Series." Kenny's vision for Kay-Dee's first book was to create a premium set with a mix of well-known and never-before-seen "Wild Style" photos, in addition to liner notes detailing the stories behind the music of one of his favorite films.
The year was 1981 and young, New York City-based filmmaker Charlie Ahearn was working on what would become one of the most important artifacts in the history of hip-hop music and culture: "Wild Style." He was scraping by to fund his efforts, which were far from a surefire money-making enterprise. Hip-hop wasn't even called "hip-hop" at the time, and it was still viewed as a fad, by both nationwide music listeners and a majority of the press.
As Ahearn and his crew continued to film scenes from "Wild Style" (which starred graffiti writers Lee Quinones and Lady Pink, among many other hip-hop and "Downtown" luminaries of the day), they reached an interesting juncture: what music would DJs in the film use in the soon-to-be-legendary live performance scenes?
The director - making a visionary move more than a half-decade before any sampling or music clearance lawsuits would appear - decided that he wanted to control the music to be used in these scenes. They would create their own breakbeats, instead of using known cuts of the day; for instance, The Incredible Bongo Band's "Apache" or James Brown's "Funky Drummer."
While Ahearn headed off to film more scenes, he left these important musical production duties to an up-and-comer who, thanks in part to his crucial role as Phade in the film, would grow to be one of hip-hop's and graffiti's most important ambassadors of the 1980s: Fred "Fab 5 Freddy" Brathwaite.
Over the course of a week's time in the late summer of 1981, the Wild Style Breakbeats sessions were completed and mastered. None of the three principal musicians who played on the Breakbeats were ever in the studio at the same time. And the final number of white-label-only Breakbeats 12-inches was, according to Freddy, only 100, making them some of the rarest "Holy Grail" pieces of vinyl in music history.
The original Breakbeats vinyl was given to the DJs in the film - including GrandWizzard Theodore, Charlie Chase and Kevie Kev Rockwell - who used them in live performance scenes, most of which were completed in the spring of 1982. Interestingly, out of 13 Breakbeats given to DJs, only five were ever used in these performance scenes or on the film's much-revered soundtrack.
For this premium Wild Style Breakbeats set, renowned DJ, producer, and lifelong "Wild Style" fanatic Kenny Dope obtained the original reel-to-reel tapes from director Charlie Ahearn and went about re-EQing and extending the length of each Breakbeat [most were originally about one minute long]. Thanks to these efforts, all 13 Breakbeats are presented here with top-level audio quality that has never been heard before. Additionally, since only bootlegs of the Wild Style Breakbeats have ever existed, this is the first time they have ever been presented on their own, as an official full album release.
This stunning set with unique "Kay-Dee Casebook" packaging - officially licensed from Charlie Ahearn by Kenny Dope and Kay-Dee Records, and packaged by Get On Down - is a hip-hop junkie's dream. It presents a crucial rap artifact with the respect it has always deserved but, until now, has not been given. It is sure to sit on your shelf alongside other trophies from the music and culture that has touched the lives of so many over the past four decades.1. Down By Law
2. Subway Beat
3. Cuckoo Clocking
4. Crime Cut
5. Gang Busters
7. Military Cut
8. Busy Bees
9. B Boy Beat
10. Jungle Beat
11. Yawning Beat
12. Baby Beat
13. Razor Cut$69.997 Vinyl Single - 7 Singles Sealed Buy Now
Dummy (Awaiting Repress)Ranked 419/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Reissued On Heavyweight 180 Gram Vinyl In Celebration Of The Album's 20th Anniversary
Portishead's album debut is a brilliant, surprisingly natural synthesis of claustrophobic spy soundtracks, dark breakbeats inspired by frontman Geoff Barrow's love of hip-hop, and a vocalist (Beth Gibbons) in the classic confessional singer/songwriter mold.Better than any album before it, Dummy merged the pinpoint-precise productions of the dance world with pop hallmarks like great songwriting and excellent vocal performances.1. Mysterons
2. Sour Times
4. It Could Be Sweet
5. Wandering Star
10. Glory Box$45.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
In My WorldBrainfeeder's de facto New Age guru and all-around production wizard, Matthewdavid, returns with a sophomore full-length for the label, an all-inclusive Mindflight entitled 'In My World'. Unlike prior LP Outmind, which was a largely ambient and inward journey, In My World expands exponentially to a multitude of lavish sound worlds ranging from the lush, vaporous pop dub of the title track, ethereal love jams like "Cosmic Caller" and "Next to You Always", uncharacteristic IDM breakbeats on "West Coast Jungle Juke", and a languorously crystallized cover "Perpetual Moon Moods". Every densely atmo spheric track is liberally punctuated with Low End Theory-approved doses of speaker-rattling sub-bass. The album, for all of its masterful production techniques and intriguing lyrical twists, is held together by a unifying theme of love - the most powerful force in the universe.1. In My World
2. Cosmic Caller
3. The Mood Is Right
4. Perpetual Moon Moods
5. House of Horus
6. Next to You Always
8. Singing Flats
9. West Coast Jungle Juke
10. Birds In Flight feat. the Light of Love Children's Choir$24.99Vinyl LP - Sealed Buy Now
Richard D. James Album (Awaiting Repress)Richard D. James' fourth, autobiographical' album as Aphex Twin is regarded as his 'drill n' bass' showpiece. Originally released in 1996, 'Richard D. James' continues the lineage of his digital era (beginning from the previous Aphex Twin album, '...I Care Because You Do'), where familiar, playful melody locks into aggressive, hyperspeed breakbeats and quasi-jungle rhythms.
This album also yielded the single 'Girl / Boy Song' which, memorably, uses a self-parodying, macabre image of grave, scribed 'Richard James - November 1968' as a sleeve image. Characteristically, 'Richard D. James' employs audio generated electronically, whilst furthering his ideas of more 'concrete' techniques such as sampling, distorting, looping and the use of human voice, physical instruments and environmental sound. As compelling a listen today as it ever was.1. 4
2. Cornish Acid
3. Peek 824545201
5. Carn Marth
6. To Cure A Weakling Child
7. Goon Gumpas
8. Yellow Calx
9. Girl/Boy Song
10. Logan-Rock Witch$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
REDI-NOR-8879xChicago Underground Duo
LocusLocus, the seventh album by the Chicago Underground Duo (Rob Mazurek and Chad Taylor), follows on the heels of their acclaimed 2012 Northern Spy release Age of Energy. Bits of breakbeat and Afropop are heard within the jazz, ambient and electronica elements of their unmistakable grooves. Also in the mix is a Ghanian folk tune and Ennio Morricone played on cornet, drums, mbira, ballophone, bamboo flute and Game Boy.1. Locus
3. The Human Economy
4. Yaa Yaa Kole
5. House of the Axe
6. Borrow and Burry
7. Blink Out
9. Dante$17.99Vinyl LP - Sealed Buy Now
WindowlickerWindowlicker consists of James' voice modulated on computer, mixed with his trademark breakbeat snare rushes, drum samples, and mixed choir-like singing, resulting in a smooth yet erratic song with the last minute of the track escalating into an extremely distorted wall of bass. Also included is a sample of a French-canadian voice, saying J'aime faire des croquettes au chien (translating to I like to make dog nuggets).1. Windowlicker
2. M¹= D[ Fj+Fext [¹]]
3. Nannou$16.9912 Vinyl EP 45 RPM - Sealed Buy Now
Music For The Jilted GenerationThe Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent.
Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut but yokes it to a cause other than massive drug intake. Compared to their previous work, the sound is grubbier and less reliant on samples; the effect moved The Prodigy away from US influenced rave and acid house of the past and toward a uniquely UK vision of breakbeat techno that was increasingly allied to the invention of drum 'n bass.1. Intro
2. Break and Enter
3. Their Law
4. Full Throttle
5. Voodoo People
6. Speedway (Theme from Fastlane)
7. The Heat (The Energy)
9. No Good (Start the Dance)
10. One Love (Edit)
11. 3 Kilos
13. Claustrophobic Sting$22.99Vinyl LP - Sealed Buy Now
Big Bad BoHeavy funk from the legendary Bo Diddley - one of his amazing comeback albums from the early 70s for Chess, all of which are plenty darn great! For this set, Bo's traded in the scratchy guitar mode of his classic work for a sweeter, tighter funk-based sound - a groove that's supported strongly with electric studio arrangements from Wade Marcus - used here in very nice contrast to Diddley's rougher vocals and guitar! The style's got a bit more electric jazz touches than some of the other Chess blues funk records from the time - but the overall sound is still bound to please any funk fan - and titles include Bite You, Stop The Pusher, You've Got a Lot Of Nerve, and the breakbeat classic Hit Or Miss!Bite You
He's Got All The Whiskey
Hit or Miss
You've Got A Lot Of Nerve
Stop The Pusher
I've Been Workin'$14.99Vinyl LP Reissue - Sealed Buy Now
The Birth Of FunkNobody in New Orleans laid into the blues so low down and dirty as Buddy Bol-den, whose Funky Butt became a staple in the repertoire of the city's early jazz bands. Jacksonville, Florida, 1960. Charles 'Hungry' Williams mentors young Clayton Fillyau after he had just joined the James Brown band: 'I don't care where you put it on those drums, remember where '1' is and you'll never lose the time.' Listen to Hungry on Huey Smith's Talk To Me Baby and then listen to how Clayton turns it into a relentless breakbeat on James Brown's I've Got Money. Earl King's Trick Bag, prefiguring the Meters, is as good an example of early New Orleansfunk as can be found. Not everything on here was cut in New Orleans. New York singer Vernon Harrel's Slick Chick is held together by an intriguingly syncopated bass line that hints at late '60s Studio One dub. And in case you think any of this was new, listen to Zutty Singleton's drum break on Victoria Spivey's Funny Feathers from 1929. Or Earl Palmer's sixteenth notes, off-backbeat snare accents and double-tempo hi-hats in 1953 on Professor Longhair's Tipitina and Who's Foolin' You.1. Say Yeah Yeah - Yvonne Fair
2. Check Mr. Popeye - Eddie Bo
3. The Popeye - Spider Johnson
4. I'm Leaving You Today - Al Robinson
5. Say Yeah - Porgy & The Polka Dots
6. Talk To Me Baby - Huey 'Piano' Smith
7. Trick Bag - Earl King
8. What A Wedding Day - Shirley Raymond
9. R B Special - Bob Bateman
10. Tell Me The Truth - The Turquinettes
11. Slick Chick - Vernon Harrel
12. I've Got Money - James Brown
13. Hold It - Bill Doggett
14. Fat Boy - Billy Stewart
15. Mudd - Roy Montrell$30.99Vinyl LP - Sealed Buy Now
Jaga Jazzist '94-'14It's hard to believe that the Norwegian 8-piece band (founded on the Horntveth triumvirate - Lars, Martin and Line) is celebrating its 20th anniversary this year, in 2014. Not that there aren't other groups that have lasted as long, but look for a group whose primary composer was just 14 when the whole thing began, find a band where five out of its eight current members were there when everything started in 1994, and scope out one that has managed to remain as stylistically enigmatic and impossible to categorise as... well, you get the idea.
And so we thought it fitting to mark the band's 20th year with a unique, limited edition vinyl box set featuring a special reissue of the landmark album 'A Livingroom Hush' (2004). Also in the box: 2 crisp 12s featuring exclusive reworks based on elements from the album Jaga Jazzist Live with Britten Sinfonia from a stellar cast of remixers Warp Records stalwart Clark; breakbeat scientist Machinedrum; Brainfeeder's sonic dreamweaver Teebs; Mellowdrone founder Jonathan Bates aka Big Black Delta; LA-based composer, orchestrator, conductor, multi-instrumentalist and producer Miguel Atwood-Ferguson (Cosmogramma, You're Dead, Suite For Ma Dukes, Build An Ark); Werkdiscs' rising star MoirÉ; Hoya:Hoya co-founder Illum Sphere; and Stockholm's Invader Ace.
Extended sleeve notes by John Kelman (All About Jazz) come in a beautiful 24 page booklet with archive photography documenting the rise and rise of this iconic collective.A Livingroom Hush - 180 Gram LP:
1. Animal Chin
2. Going Down
3. Press Play
5. Real Racecars Have Doors
6. Low Battery
8. Made For Radio
12 - Reworks Pt 1
1. Bananfluer Overalt (Clark Remix)
2. Music! Dance! Drama! (Big Black Delta Remix)
3. Kitty Wu (Machinedrum Remix)
4. Toccata (Teebs Remix)
12 - Reworks Pt 2
1. Rose Heiress (Miguel Atwood-Ferguson)
2. Oslo Skyline (MoirÉ Remix)
3. Toccata (Illum Sphere Remix)
4. Toccata (Invader Ace Remix)$76.99180 Gram Audiophile Virgin Vinyl LP + 2 12 Vinyl LPs + Booklet - 3 LPs Sealed Buy Now
IncunabulaIncunabula, the debut full-length offering from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. Having first emerged onto a post-acid house 1993, Incunabula was released as part 7 of the now legendary Artificial Intelligence series of albums and compilations from Warp. A series that gave us early records from artists who went on to sculpt the electronic landscape both in and out of the club. Being lined up against such contemporaries as Black Dog Productions (Balil and Plaid) Aphex under his Polygon Window guise, Richie Hawtin's FUSE project, Speedy J, B12 & on the series' closing compilation, artists as diverse as Seefeel, Richard H Kirk & The Higher Intelligence Agency. Incunabula set the tone for the following landmark albums from Ae, huge caustic dissections of sound that almost resemble vast mathematical equations more than they do club fodder (though tracks like the breakbeat whip crack of Doctrine and the acidic euphoria of Maetl, which when deployed by the right DJ will go off). For those just arriving at the edge of Ae's world and are looking for an entry point into the sprawling discography of the group, or those of you looking to delve into the pre-MaxMSP archives, this is the record for you. There is not much we can say that has not been said before, but this truly is a landmark album of UK electronica, a legendary recording that still even after twenty-six years still sounds like a future we are yet to arrive at.1. Kalpol Introl
4. Bronchus 2
11. 444$24.99Vinyl LP - Sealed Buy Now
Tri RepetaeTri Repetae, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, Tri Repeate stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, Tri... features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, Tri... mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese & Tod Dockstar with the mid 90's post-hardcore sound of jungle.For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into. Mixing elements of groups such as Coil at their most industrial, the austere techno of the Downwards crew and the cold yet funky electro of Man Parrish, they composed an album that still, twenty one years since its release, has one of the most singular sounds for anything resembling electro techno, and what other group can you think of who have you can say have ever managed that?1. Dael
10. Rsdio$24.99Vinyl LP - Sealed Buy Now
The Matrix (Music From The Motion Picture)Red And Blue Pill Colored Vinyl Edition
Limited To 1500 Copies
Real Gone Music's 2-LP Set Comes In A Newly Designed Gatefold Package Featuring Production Stills From The Film
Features Such Artists As Marilyn Manson, Deftones, Ministry, Rage Against The Machine, Prodigy, And Rammstein
Never Before Released On Vinyl
Every decade or so a science fiction film comes along that captures the Zeitgeist and simultaneously casts a searchlight into the murk of what's to come. Such a film was The Matrix.
Released in 1999 to a public already grappling with huge technological change and subject to Y2K hysteria whipped up by the media, The Matrix wove such au courant tropes as Japanese animÉ, Hong Kong martial arts films, cyperpunk sci-fi, and hacker hero worship into a tale of druggy paranoia whose vision of a grim future marked with universal surveillance and pathological interconnectedness actually looks less paranoid by the day.
And its soundtrack was similarly forward-looking. Instead of offering the blues-based, heavy metal rock that might have populated the score had the movie been made a decade before, The Matrix tapped into the new, breakbeat electronic sounds making inroads into popular music. The result was a propulsive audio ride perfectly mated to the film's cinematographic bullet time innovations, a doom-laden, neck-snapping blend of stoner metal, hip hop and electronica.
Now, Real Gone Music is proud (in fact, we're pinching ourselves is this some machine-made illusion?) to present, for the first time EVER on vinyl, the original soundtrack to The Matrix in a limited (what else?) red and blue pill vinyl edition. The 2-LP set comes in a newly-designed gatefold package featuring stills from the original film production and is limited to 1500 copies like Morpheus says, this is your last chance!LP 1
1. Rock Is Dead (Marilyn Manson)
2. Spybreak! (Short One) [Propellerheads]
3. Bad Blood (Ministry)
4. Clubbed to Death (Kurayamino Mix) [Rob D]
5. Prime Audio Soup (Meat Beat Manifesto)
6. Leave You Far Behind (Lunatic Calm)
1. Mindfields (Prodigy)
2. Dragula (Hot Rod Herman Remix) [Rob Zombie]
3. My Own Summer (Shove It) [Deftones]
4. Ultrasonic Sound (Hive)
5. Look to Your Orb for Warning (Monster Magnet)
6. Du Hast (Rammstein)
7. Wake Up (Rage Against the Machine)$44.99Colored Vinyl LP - 2 LPs Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
REDD-FAT-5015xUnknown Mortal Orchestra
Unknown Mortal OrchestraUnknown Mortal Orchestra have officially signed to Fat Possum for this, their self-titled debut LP. UMO was initially conceived by New Zealand native, Ruban, to release some tracks via a Bandcamp page to promote his limited edition vinyl in 2010. He pieced a band together, with skilled producer, Jake on bass and a brilliant teenage drummer named Julian to fill out the band. Based in Portland, Oregon, their debut brings break-beats together with '70s harmonies and a minimal Krautrock rhythm section.1. FFunny FFrends
3. Thought Ballune
4. Jello and Juggernauts
5. How Can You Luv Me
6. Nerve Damage!
7. Little Blu House
8. Strangers Are Strange
9. Boy Witch$17.99Vinyl LP- Sealed Buy Now
Un-United KingdomThe latest 4-song ep from PITCHSHIFTER! The title track Un-united Kingdom pokes fun at the good old United Kingdom, set to a backdrop of spastic break-beats and aggressive guitars and scathing vocals. In fact, its such a catchy tune that it appears twice on the ep ? once in its original form and again as a remix by Fuzz Townshend (Pop Will Eat Itself, Bentley Rythmn Ace).
Pitchshifter (from Nottingham, U.K.) began in the early '90s industrial underground as aggressive social commentators, hearkening back to the early days of British punk and American hardcore (a la the Minutemen and Dead Kennedys). The band signed to Earache in 1992, and their first two releases (the mini-album Submit (1992) and the full-length Desensitized (1993) ) established them as mainstays in the scene. In 1996 they released their Infotainment ep, also on Earache. These albums simultaneously found their way across the Atlantic, capturing the attention of American listeners.
In 1996, Pitchshifter morphed away from their industrial roots, showing a growing interest in technology and computers. Yet the stronger integration of electronics comes without sacrificing either their signature aggressive sound or an upfront political message.
The UnUnited Kingdom ep sees the band still broadening their musical horizons. These tracks (including a Big Black cover) will appeal to fans of crossover break-beat/metal/techno/hardcore.1. Un-United Kingdom
2. Everything Sucks
3. Kerosene (Big Black cover)
4. Un-United Kingdom (Fuzz Townshend mix)$7.99Vinyl LP - Sealed Buy Now
REDD-ROY-3888xRobert Walter's 20Th Congress
Get Thy BearingsRobert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.
Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.1. Hunk
2. Little Business
3. Get Thy Bearings
5. Dog Party
6. Inversion Layer
8. Don't Chin The Dog
9. Up From The Skies$16.99Vinyl LP - Sealed Buy Now
ADAD-JAG-3216xUnknown Mortal Orchestra
IIII builds on the break-beat, junk-shop charm that Ruban Nielson, 32-year-old multi-instrumentalist and songwriter, came to be renowned for following his self-titled 2011 debut, and signals the solidification of Unknown Mortal Orchestra's position as an endlessly intriguing, brave psychedelic band. UMO is unafraid to dig deeper than the rest to lock into their intoxicating, opiate groove and bring rock'n'roll's exaggerated myths to life.1. From The Sun
2. Swim and Sleep (Like a Shark)
3. So Good At Being In Trouble
4. One At A Time
5. The Opposite of Afternoon
6. No Need For a Leader
9. Faded in the Morning
10. Secret Xtians$16.99Vinyl LP- Sealed Buy Now
Lines We TraceWhite Colored Vinyl
The 12 songs on Lines We Trace represent a band steady enough in its sound-poignant, panoramic, unreservedly gorgeous-that it can expand beyond it. The string section that hums throughout "Elegy"-quintessentially sweeping, Hey Marseilles style-shifts into finely composed abstraction for the song's final minute. Colin Richey's skittering rhythm on "Bright Stars Burning" is a gentle
breakbeat, a sly nod to atmospheric drum 'n' bass. "Madrona" and the album-closing "Demian" are Hey Marseilles' first fully instrumental songs, a pair of echo-laden piano-and-cello dirges that are simultaneously solemn and sumptuous.1. Tides
2. Heart Beats
3. Dead of Night
5. Bright Stars Burning
6. Building Glare
8. Hold Your Head
10. Looking Back
11. Cafe Lights
12. Demian$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Body WinsSarah Jaffe started work on The Body Wins the day she bought a bass and a drum set at a pawnshop. That day, she wrote the rhythmic A Sucker For Your Marketing and her second full-length began to take shape. Jaffe had pent-up creative energy inside her, after spending most of the year traveling and touring behind her debut Suburban Nature, and she explores it with abandon here.
There's a side of The Body Wins that didn't exist with Jaffe on her debut and it has a newfound pulse to it, more than a heartbeat, not quite a breakbeat. Glorified High, the first single perfectly captures that with a chorus that smacks you in the chest and lovingly lingers.
The Body Wins may sound different to those introduced to Jaffe through Suburban Nature and it should as it's more of a product of everywhere she's been, literally and figuratively, and a hint of everywhere she might go from here. Produced by John Congelton (St. Vincent, Walkmen, Clap Your Hands Say Yeah, Explosions in the Sky.)1. Paul
2. Body Wins
3. Glorified High
4. Manneguin Woman
5. Halfway Right
6. The Way Sound Leaves
8. Hooray for Love
9. Foggy Field
10. Sucker For Your Marketing
13. When You Rest$13.99Vinyl LP - Sealed Buy Now
Inner City Beat! (Awaiting Repress)Includes Graphic Novel
Soul Jazz Records new release Inner City Beat! Detective Themes, Spy Music and Imaginary Thrillers 1967-1975 is a unique 2LP release that comes with an exclusive limited-edition, specially created 60-page graphic novel (by the mysterious cult 1960's pulp-fiction writer Mark 'Badly' Antingham). The music on the album is a killer selection of funky, deep, rare, exciting and dance floor heavyweight 'spy themes', 'detective music' and thriller from the 1960s and 1970s. The music spans heavyweight break-beat funk, deep and heavy jazz, super-catchy mod themes, imaginary super-charged orchestral soundtracks and more. These tracks are put together from British library music companies (DeWolfe, KPM, Conroy, Amphonic) all of whom supplied music regularly to television and film around the world during this period, often for use in detective and spy programmers, series and films. To accompany this unique album, Soul Jaxx have also commissioned the creation of a special 60-page graphic novel which features the stunning artwork of the elusive illustrator John C. Pattereson in partnership with the celebrated 1960's pulp fiction cult novelist Mark 'Badly" Antingham. The graphic novel is set in the imaginary seedy streets of East London in the 1960's, in a world full of corrupt police, political intrigue and violent sadistic criminals. This unique limited-edition graphic novel comes free with the initial run of the album Inner City Beat. This vinyl album also includes the full graphic novel. There is also a worldwide digital download release for this Soul Jazz Records release.Peter Reno and Barry Stoller - Sparks
Syd Dale - Danger Musicians At Work
Clive Hicks - Transit
Norrie Paramor - Theme From New Scotland Yard
Francis Coppieters - Funky Chimes
Dave Richmond- Gotta Getaway
Dave Richmond - Heavy Lead
Reg Tilsley - Ode To A Stone
Ernest Copley - Fuel Injection
Brass Incorporated - On A Bicycle
Made For 3
Tilsley Orchestral - The Ratcatchers
Ernest Copley - Dynamic Patterns David Lindup - Men of Action
Brass Incorporated - Come One, Come All
Francis Coppieters - Cross Talk
The International Studio Orchestra - High Diplomacy
Syd Dale - The Hell Raisers
Johnny Pearson - Product Efficiency
Johnny Hawksworth - Conveyor Belt
The International Studio Orchestra - Police Five
Johnny Pearson - Grand Prix
David Lindup - Superformance
Ernest Copley - Crossflow
Johnny Hawksworth - Workshop$28.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
$24.99 $19.74 Save $5.25 (21%)
T.O.B.E. / At Seattle's Doubletree Inn (Discontinued) (On Sale)Double release LP featuring 2 of Overton Berrys highly sought after recordings
Limited quantity vinly only (1,000 copies) reissue with fully re-mastered audio and tip-on gatefold hand-numbered jackets
New liner notes about history behind these coveted titles, presented with never before seen artist photos
Includes download card with 3 previously unreleased tracks.
Despite its non-central location, the Doubletree was once the Pacific Northwest hotspot with line-ups around the block. The reason? The Overton Berry Trio, who ably filled the lounge with sounds of jazz, soul, and pop over clanking drinks and decadent dinners. While local music lovers, dedicated crate-diggers, and diehard funk heads will have heard of the classy pianist (often compared to his better-known peer, Ramsey Lewis), its finally time to let the world in on our little secret. At the dawn of the 1970s, Berry and company recorded 2 long player albums: The Overton Berry Trio At Seattles Doubletree Inn (1970) and T.O.B.E. (1972). Both take the listener to a time long forgotten, a place where music engaged, invited dialogue, and struck chords deep in ones soul. In celebration of this still relevant sonic legacy, Light In The Attic Records will re-release the original At Seattles Doubletree Inn and T.O.B.E. (The Overton Berry Ensemble) albums in a lovingly packaged double vinyl-only reissue.
Prominently featured on both of Light In The Attics Wheedles Groove releases and director Jennifer Maas Wheedles Groove documentary, the Overton Berry Trio and their transcendental interpretation of The Beatles Hey Jude (from At Seattles Doubletree Inn) is notorious amongst forward thinking DJs and record collectors the world-over. The T.O.B.E. album (especially the break-beat heavy Jesus Christ Superstar) has also piqued the radar of many a tastemaker and original copies are virtually extinct and prohibitively priced when available in record dealers crates or offered for sale on the web. Now with lovingly remastered audio, extensive liner notes, and unpublished photos, this double L.P. set gives you both of the aforementioned rarities and the best of Overton Berry that is, if you havent had the good fortune of seeing the man play live. Still performing his trademark blend of standards, thoughtful interpretations, and original compositions weekly in-and-around Seattle, if you find yourself music hungry in the Pacific Northwest, you just might have a chance. Berry is still doing his thing with the utmost respect and dedication to his craft.T.O.B.E.
1. Compared To What
2. A Child Is Born
3. Black Bottom
4. Color My World
5. Jesus Christ Superstar Medly; Heaven On Their Minds; Everthing's Alright; I Don't Know How To Love Him; The Last Supper; Superstar
At Seattle's Doubletree Inn
7. Feeling Good
8. And I Love Her
9. MB Blues
11. Hey Jude
13. Here There and Everywhere
14. Guacamolian Shuffle
15. Aquarious$24.99 $19.74 Save $5.25 (21%)Vinyl LP - 2 LPs Sealed Buy Now