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I.Formed in 2008, the group has been host to a number of different musical collaborators, working through a variety of sounds since its inception. In the spring of 2012, inspired by the Trinity Session, Cocteau Twins, Red House Painters, Mazzy Star & the sound of early '60s records like I Love You How You Love Me by the Paris Sisters, they recorded their first proper EP, I., live over the course of a single night in the stairway of a four-story building.1. Nothing's Gonna Hurt You Baby
2. I'm A Firefighter
3. Dreaming of You
4. Starry Eyes$14.9912 Vinyl EP - Sealed Buy Now
Money And CigarettesMoney and Cigarettes marked several important turning points in Eric Clapton's recording career: his debut release on his own Duck imprint; the first album he made after giving up drinking; and new players (with the exception of second guitarist Albert Lee) including Stax Records veteran bassist Donald Duck Dunn and Muscle Shoals drummer Roger Hawkins, also bringing in guest guitarist Ry Cooder.
His new songs reflected on his changed condition, with Ain't Going Down, a thinly veiled musical rewrite of the Jimi Hendrix arrangement of All Along the Watchtower, serving as a statement of purpose that declared, I've still got something left to say. Other notable hits include The Shape You're In, the acoustic ballad Pretty Girl and covers of Sleepy John Estes' Everybody Oughta Make a Change (significantly placed as the album's leadoff track), Albert King's Crosscut Saw, and Johnny Otis' Crazy Country Hop.1. Everybody Oughta Make A Change
2. The Shape You're In
3. Ain't Going Down
4. I've Got A Rock 'N' Roll Heart
5. Man Overboard
6. Pretty Girl
7. Man In Love
8. Crosscut Saw
9. Slow Down Linda$22.99Vinyl LP Reissue - Sealed Buy Now
Still ClimbingLeslie West is set to releases his album Still Climbing in 2013 via Provogue Records / Mascot Label Group.
Originality, excitement, honesty and survival are all part of what makes a legend, and those qualities ripple through every song on the album. It's a testimonial to the strength and durability of West's artistry. Born October 22, 1945, as he approaches his 68th birthday, West has packed some of the most soulful and searing vocal performances of his half-century career into these 11 tracks. His guitar has never sounded more massive or riff-orientated.
What's different on Still Climbing is that I wanted my guitars to sound as big as I look. So I used four of my Dean Signature model guitars with my Mountain of Tone humbucking pickups. I plugged them into my Blackstar amps - no pedals - and turned them up loud and raw, and what you hear is exactly what I did in the studio. These Blackstar amps deliver everything I need without 'confidence' pedals. I played one of the early tracks we recorded for Slash, and he said, 'That is as heavy as it gets.'
Still Climbing is co-produced by West and Mike Metal Goldberg, who engineered all of the sessions. Songs like Dyin' Since The Day I Was Born, Hatfield or McCoy, and Busted, Disgusted or Dead establish a new litmus test for heavy.
The latter features West and Johnny Winter on duelling slide guitars. West also gave up smoking cigarettes and pot after a bout with bladder cancer, so it's no wonder many of Still Climbing's numbers explore the theme of survival and, ultimately, triumph. To that end, West avows, Not only am I lucky to be here, but because I stopped smoking my voice is now stronger than it's ever been - as strong as my guitar playing.
His inclusion of Feeling Good, a song by British actor-musician Anthony Newley that was made famous by Steve Winwood's group Traffic, is a testimonial to all of that. Its lyrics celebrate a new dawn for me as West and his long-time buddy Dee Snider (Twisted Sister) trade vocal lines.
West has always been an outstanding vocalist, earning comparisons to soul legends like Otis Redding since his 1969 debut Mountain, which gave his historic band its name. On Still Climbing West revisits the catalogue of another classic soul man, Percy Sledge, with the enduring When a Man Loves a Woman. He's joined by now 32 year-old soul man Jonny Lang, who he met 15 years ago when Lang was a rising guitar prodigy. West says they cut the tune side-by-side in the studio, their soaring guitars and voices twining to bring fresh blood and a blues-soaked arrangement to the song.
When a Man Loves a Woman, Never Let Me Go and Fade Into You explore a romantic theme. In 2009 West married his wife Jenni, who co-wrote many of Still Climbing's songs with the guitar giant.
Balls, guts, heart - more words that are part of West's legend and describe the roaring crescendos and deep emotional roots of Still Climbing - and West himself. You know, when it comes to talent, we don't all move at the same rate of speed, West muses. Some people start at the top of their game and after 10 or 20 years you wonder what the hell happened to them. I like to joke that the older I get the better I used to be, but after giving up drugs and smoking, my voice can hit notes that I never could reach before. I'm thankful for that.1. Dyin' Since The Day I Was Born (With special guest Mark Tremonti)
2. Busted, Disgusted or Dead (With special guest Johnny Winter)
3. Fade Into You
4. Not Over You At All
5. Tales Of Woe
6. Feeling Good (with special guest Dee Snider)
7. Hatfield or McCoy
8. When A Man Loves A Woman (With special guest Jonny Lang)
9. Long Red
10. Don't Ever Let Me Go (With special guest Dylan Rose)
11. Rev Jones Time (Somewhere Over The Rainbow)$18.99Vinyl LP - Sealed Buy Now
Light: On The South Side (Awaiting Repress)2 LPs and 132-page book!
Between 1975-1977, Chicago's South Side night clubs were a little lighter. Photographer Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge, not to capture the artists on stage, instead popping off a half dozen rolls every night on the crowd. Light: On The South Side gathers for the first time over 100 of these images, as Numero Group shines its own strobe on yet another dark corner of the past. The 132-page hard back book features photos, an ephemera section, and an essay by Nick Hornby.
Housed in a gorgeous slipcase with the 12x12 book is Pepper's Jukebox, a seventeen track compilation of the kind of funky Chicago blues heard from the stage and the Wurlitzer. The deluxe 2LP set is packaged in a sharp gatefold jacket with two inner sleeves crammed to the gills with label scans and stories. All in all, it's the classiest Numero record ever made, spotted easily from across the room with its near 2 spine.
Light: On the South Side is undoubtedly Numeros most extravagant and audaciously packaged seta dazzling collection that should receive an automatic Grammy nomination for Best Recording Package. Housed in a slipcase box, the compilations 2-LP gatefold vinyl and 132-page hardbound 12x12 book offer the ultimate immersion into Chicagos African-American South Side nightclubs and the sounds, sights, personalities, and smells that filled them on a nightly basis. The gorgeous collection is a prerequisite for any fan of blues, R&B, and soul (and by natural extension, rock and pop)and anyone curious to glimpse a bygone era of life-after-dark celebrations staged by urbanites that lived for evenings on the dance floor, in front of the Wurlitzer, and in leather booths surrounded by the opposite sex, booze, and cigarettes. -Bob Gendron, TONE Audio, Issue 251. Arlean Brown - I'm A Streaker Baby
2. Bobby Rush - Bowlegged Woman
3. Ricky Allen - No Better Time Than Now
4. Little Mac Simmons - The Same One
5. Lady Margo - This Is My Prayer
6. Andrew Brown - You Made Me Suffer
7. Artie White - Gimmie Some Of Yours
8. Lucille Span - Women's Lib
9. Hugh Hawkins - Bring It Down Front
10. Slim Willis Band - I Sayed That
11. Little Ed - It's A Dream
12. Syl Johnson - Is It Because I'm Black
13. Walter 'Butterball' Davis - Baby Watcha' Doing
14. Willie Williams - Detroit Blues
15. Little Mack - Goose Walk
16. Detroit Jr. - Young Blood
17. Willie Davis - I Learned My Lesson
18. James Kind - California Lady$60.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Walt WolfmanAbout a year ago, Richard Swift horrifically fractured his left ring finger. For a moment his nimble guitar and piano work flashed before his eyes. Doctors were saying things like movement and feeling could eventually return, etc, etc. Certainly, not even a little blip on the sadness radar of humanity, but a massive bummer for a fellow who has carved out a niche as one of independent music's sought after session players and producers and especially in relation to the astounding Richard Swift solo output we all know and love.
So, it's with a great, collective sigh of relief that he's back to churning out new material like Whitman. It's chugging, chiming and triumphant, featuring Swift's always endearing falsetto and casual call-and-response lyricism. I've got my own Whitman...Farewell, farewell/I hope it did you good/To say the things/My father never could, Swift pines. The song is a cryptic salute to Walt Whitman, whose American lineage of primal, urgent art can be traced to include Kerouac and Dylan, Bo Diddley and Beefheart right on through to modern outsider-pop wunderkinds like Swift. And according to Swift, Whitman is a nice taste of what we can expect from his next longform recording.
The same can be said for the remainder of the Walt Wolfman EP. Conceived in the same spirit that gave us 2008's cult favorite Ground Trouble Jaw EP, these blown-out, basement R&B rippers are not for the faint of heart. They require movement and sweat, dancing with a cocktail glass in your grip until your shoes are soaked in booze. Highlight of the set, MG 333, is a raw and ghostly trance, a blast of kinetic energy and jazz cigarette smoke. Meanwhile, the neu-vintage jive of Drakula (Hey Man) and Zombie Boogie pack a timelessness that transcends their seasonal titles. And yeah, that's Swift himself on rapid-fire drums across the whole damn set. Shit, he might have been fine without that measly finger after all.1. Whitman
2. Mg 333
3. Laugh It Up
4. Zombie Boogie
5. Out & About
6. Drakula (Hey Man!)
7. St. Michael$14.99Vinyl LP - Sealed Buy Now
Dream With Dean: The Intimate Dean MartinMastered At Sterling Sound By Ryan Smith From The Analog Tapes
Plated And Pressed By Quality Record Pressings
Deluxe Tip-On Gatefold Jackets By Stoughton Printing
A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, 'his longtime accompanist' on piano, Ken Lane, with 'three of Hollywood's most thoughtful rhythm men' - those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel - do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, 'Everybody Loves Somebody,' is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers & the First Edition, and so many others, also the same man who was behind the 1964 No. 1 smash.
This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one.
Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt the product of excellent research and development, as Bowen landed 11 Top 40 hits with the singer from 1964's Everybody Loves Somebody, which evolved out of this original idea, to 1967's 'Little Old Wine Drinker, Me.' It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was. - AllMusic.
Now Dream With Dean - The Intimate Dean Martin is back bigger and better than ever! We've gone the deluxe Analogue Productions route - remastered from the original analog tape by Ryan Smith at Sterling Sound, cut at 45 RPM, plated and pressed at Quality Record Pressings. Then packaged in deluxe tip-on gatefold jackets from Stoughton Printing. A great title, a brilliant reissue. Exceptional!
This title is not eligible for discount.1. I'm Confessin'
2. Fools Rush In
3. I'll Buy That Dream
4. If You Were The Only Girl
5. Blue Moon
6. Everybody Love Somebody
7. I Don't Know Why
8. "Gimmie" A Little Kiss
9. Hands Across The Table
11. My Melancholy Baby
12. Baby Won't You Please Come Home$54.99200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
BlessedHaving moved all around Canada and settling nowhere, Walter TV are contemporary
nomads. They formed their band in the basements and cottage-like houses of a
beach town outside Vancouver.
After Joe McMurray and Pierce McGarry moved to Montreal, they shared an
apartment with a constant revolving cast of characters. In a space often overpopulated
and reeking of cigarettes, they began recording Blessed. Simon Ankenman
would come by periodically, and with him they would finish most of the recordings
between there and LA. The band's two members, Joe and Pierce, were also busy
touring with Mac DeMarco, acting as his backing band. Mixing and recording
turned into a thing to do on the road.
Although the group prefers tape recordings to digital, they have never been militant.
Always trying to uphold their DIY sensibilities, Walter TV believes the music should
speak for itself. It should come from wherever and whatever is available.1. Candles
3. Paranormal Witness
4. Walter's Kaya
5. Punk Song
6. Surf Metal
8. Thanksgiving (Looper)
9. C'mon Now
10. Tall Mountains$19.99Vinyl LP - Sealed Buy Now
NVMLike a fluorescent-lit snack-aisle oasis in some desolate interstate road stop, brimming with Skittles and limited-edition Sno Balls, Tacocat's Easter-egg-hued pop-punk-pop is bubblegum-sticky with hooks, bound to brighten up the most drab stretch of bummer backroad.
The band's four-person, seven-layer-burrito came together organically: Lelah Maupin (drums) and Eric Randall (guitar) met in their native Longview, WA-two hours south of Seattle, the very town that Green Day named their breakout debut single after. Lelah's family room was wallpapered with framed Magic Eye posters, hence Stereogram, the cross-eyed love letter to that bizarre '90s optical fad. She met lanky Eric while both worked at Safeway, wearing the chain's distinctive navy aprons before breaking north to Seattle. Eric's band The Trashies practiced and played in the basement of the 24/7 House in the Central District, where Long Beach, CA native Bree McKenna (bass) was living, amongst the dust, boxes, and spiders. Lelah met Butte, MT native Emily Nokes (voice, tambourine) in one excruciatingly early/boring graphic design class, slipping her a doodled-upon note; she soon noticed Emily's big voice while she sang along with R. Kelly on the radio. Emily and Bree hit it off one sloshy night at the Comet. Eric impressed Emily with his reenactments of scenes from Anaconda. Sometime around 2007, via countless raucous house party shows, the legend of Tacocat was born.
The foursome would quickly make a name for themselves with their simply energizing power pop, drawing on classic Northwest energy with an uncommonly upbeat, surfy swag that could only come from gray skies and hydroponic sunshine. Their sly and unabashed '90s revivalism has, in the past, found the band pondering Evan Dando and Waterworld-and Bree herself explains finding about riot grrrl via Napster and Julia Stiles in 10 Things I Hate About You. They've described themselves variously as Feminist sci-fi and Equal parts Kurt and Courtney; oh well, whatever NVM.
NVM-Tacocat's second full-length album and first for Hardly Art, opens up like some mystery shoebox, wistful, instantly nostalgic: snapshots of mortifying exes (You Never Came Back) and sketchy party situations (Party Trap), maybe a postcard with an alien smoking a joint. Cigarette cellophane-wrapped weed nugs, pain pill crumbs and wrapped tampons (all the girls are surfing the wave, surfing the crimson wave today"), all serve as a roadmap through Tacocat's bong-ripped reminiscences, scenarios all-too familiar and hilariously improbable. There's the notoriously inconsistent #8 Metro line (F.U. #8) and the accountability-allergic, black-clad brick-heavers of This Is Anarchy. The protagonist of Psychedelic Quinceañera-based on Bree-just wants to dance with rainbows, mind-expansion style, instead of having to wear a frilly dress in front of her whole family. Emily daydreams of a Bridge to Hawaii, where even the destitute could walk their asses to paradise-before being snapped out of it by cat-calls from construction workers, business dads, and drunk hobos (Hey Girl); sweaty jerks telling her that she should smile!
NVM all that, though: you should, and will, smile-either a wry little corner-lifter or a big ear-to-ear equator-and shake what's yours, when you hear the whippet-smart latest album from the world's favorite palindromic band. Text a friend.
--Larry Mizell1. You Never Came Back
2. Bridge to Hawaii
3. Crimson Wave
5. Pocket Full of Primrose
6. Psychedelic Quinceañera
7. Time Pirate
8. This is Anarchy
9. Hey Girl
10. Party Trap
11. F.U. #8
12. Alien Girl
13. Snow Day$13.99Vinyl LP - Sealed Buy Now
My Friend FishJoseph Campbell describes a shaman as person, male or female, who has an
overwhelming psychological experience that turns him totally inward. It's a kind of
schizophrenic crack-up. The whole unconscious opens up, and the shaman falls
into it. We'll never know the whole truth about what happened when (Foxyen
drummer and former Disney child actor) Shaun Fleming moved from the West
Coast suburbs to New York, but whatever it was fractured his psyche, opened it up,
and gave birth to Diane Coffee.
In 2013, after joining the band Foxygen, Shaun Fleming left the green and golden
fields of his hometown of Agoura Hills, CA to become the third roommate in a 700
square-foot, pre-war, closet-free Manhattan apartment. He was welcomed to The
Big Apple by a nasty flu virus that drained the last bit of California sunshine out of
the skinny, Macaulay Culken-looking 26-year-old's body. As he recovered, cabin
fever supplanted the flu, and his relentless creative drive took over. Low on funds
and bored out of his gourd, he spent the next two weeks alone in his bedroom
writing and recording what would become the debut Diane Coffee LP My Friend
Despite his limited means (using a pseudo drum kit consisting of a snare, one
broken cymbal, and a metal pot, recording parts with an iPhone's voice memo app,
playing a detuned guitar rather than a real bass, etc) My Friend Fish sounds fully
realized and remarkably polished. From a Donovan-esque song about Sriracha,
to experiments with distortion and garage-rock, to songs like All The Young Girls
in which he gleefully channels Tom Jones with sex-bomb confidence, on My Friend
Fish Fleming's spell-casting powers are in full effect, inspiring panty-tossing glee.
After you finish listening, you'll wonder as you stretch out in bed and enjoy a
cigarette, Who is Fish?1. Hymn
2. Never Lonely
3. Tale Of A Dead Dog
4. WWWoman Is A Sin
5. New Years
6. All The Young Girls
7. When It's Known
8. That Stupid Girl Who Runs A Lot
9. Eat Your Love (With Sriracha)
10. Green$16.99Vinyl LP - 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