Rock & Indie CD 562 Items

This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo - but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, if not Maad, Nadma or Aktuala, or even the lesser known Bauhaus for instance. But playing this kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever.
Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, ute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974.
Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King Jazz-Line’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and owing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean avour that only Italian musicians were able to obtain.
This beautiful album is of course immensely rare in its original edition, and is now nally reissued on Dialogo record label in a faithful restored version that will finally satisfy any collectors who have waited for years for this beauty to see the light again!
Italy has proven to be a treasure trove of obscure, archival sounds. For decades, the products of its free-wheeling sonic countercultures - spanning numerous musical genres - remained as overlooked from within as without, until being uncovered by diggers searching for treasures in the shadows of time. Thankfully, those efforts have morphed into countless revelations via the reissue market. Leading the way is the Milan based imprint Dialogo, who have made their name by diving far from the predictable path. Their latest, the first ever vinyl reissued of the lone, self-titled LP produced by the Rome based quintet, Spirale, in 1974, stands among their most exciting offerings to date. A visionary hybrid at the juncture of rock and jazz, it was so ahead of its time that it remained almost entirely overlooked for decades, before ultimately ascending to holy grail status among lovers of Italian prog. Creatively thrilling - filled with emotive highs and lows - it’s a crucial piece in the puzzle of Italy’s wild and wonderful history of radical sound.
Founded in Rome by Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums), Spirale is among the most obscure projects to have emerged from Italy during the first half of the 1970s. Almost as soon as their lone, self-titled LP was issued by International King Record in 1974, the trial goes dark. Members turn up on recordings by Gaetano Liguori Collective Orchestra, Folk Magic Band, and numerous other projects over the years, but in this incarnation the music on Spirale seems to be all we have.
Spirale’s fate seems to have rested with the simple fact that they were too ahead of their time, producing a music that would subsequently come to find broad favour among audiences of popular music only a year or two down the road. Their lone, self-titled LP, carving out uncharted territory between Bitches Brew era Miles Davis and mid-70s Soft Machine, pushed progressive rock into a near undefinable realm; not rock enough to be called rock, not jazz enough to be called jazz.
Across the two sides of Spirale, comprising four works, a band of uncompromising talent stretches out, laying down cycling rhythms and bass lines that channel the modalism of John Coltrane, the funkiness of Donald Byrd, and hypnotic psychedelia, before embarking upon melodic excursions - peppered with Mediterranean sensibilities - into the outer realms.
Joyous, engrossing, and the product of exacting musicianship, how Spirale remained overlooked for all these years is one of the great mysteries of Italian music. An absolute revelation of the highest order brought to us by the capable hands of Dialogo, the first time ever reissue of this 1974, obscure masterstroke is an absolute must for any fan of prog, jazz, or Italian music at large. Beautifully pressed with fully restored and remastered audio and issued in a facsimile gatefold sleeve, reproducing the stunning original design, Spirale is just about as good as reissues get.

From 1975, this is Baris Manço’s masterpiece. Stunning cosmic, psychedelic, groovy conceptual album with fantastic electronics use and a strong Turkish folk flavour as usual. Again, this is the first official, proper CD reissue, and comes with a booklet with linernotes and photos.

Master of the fuzz saz, Turkey’s answer to E. Clapton brings burly axe attacks to the snakey folk melodies of Anatolia. Long proven to cause just the brain-rot you’re looking for, here’s a Koray collection of tracks taken from singles and LPs for your acid-drenched pleasure. The guitar slinger who was once stabbed for wearing his hair too long around the streets of Istanbul interweaves melodies as old as the ruins of Ephesus with the riffs of Black Sabbath & his own souped-up baglama. Find out why they call him Erkin Baba. Double CD set, with insert / booklet including extensive linernotes.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

The original album, Remastered by Bernie Grundman
• 12 bonus tracks taken from the original 1996 session tapes
• 64 page booklet including new liner notes, photos, song notes & lyrics

‘Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at 8 million copies, outselling any other record in the same genre. The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century. To celebrate the 25th Anniversary of the album’s recording, World Circuit will release Special Edition Remaster formats of the album in September 2021, featuring previously unheard tracks, previously unseen photos and new liner notes. The releases will be supported by an international PR & marketing campaign, events and digital initiatives.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!! Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

Augenwasser represents the alter ego of multi-instrumentalist Elias Raschle from Biel. The project was born in 2014 with a first 7“ record produced by La Suisse Primitive and a self-produced cassette entitled 'Fireworks', under Augenwasser's own label Hot Dogma.

In December 2015, Augenwasser's first album 'Drones & Love Songs' was released on Bongo Joe Records. Intimate compositions, solitary writings and raw melodies come together to create a personal and genuine project. He recorded it solo in the secrecy of his home studio. However, Elias Raschle asks for reinforcements for his stage shows. Trustworthy musicians agree to jump on board with him: Elias Gamma (Martin Savage Gang / ex-GOU, Shady & the Vamp), Juliette Rosset (zayk), Levent Pinarci (ex-GOU, Levent, Uht). Amongst others, the group performs at the notorious Bad Bonn Kilbi Festival, and also tours abroad: Belgium, Greece, United Kingdom, France.

After joining forces with the American musician Kelley Stoltz in 2017, the duo gives birth to a collaborative album that got released on the 'Transnational Serie' by the label La Suisse Primitive. On stage, Augenwasser becomes a solitary project. Elias Raschle now performs alone on the guitar for a more intimate experience. In 2018, he produces a collection of recordings entitled “The Last Campfire Smokeout“, that he put out on Soundcloud and Bandcamp. For his upcoming project, Elias immersed himself in the composition of 'Sleepdancer', to be released in 2020 on Les Disques Bongo Joe.

Recorded between Lausanne and Brussels during summer 2019, this new series of songs by Meril Wubslin dig deeper into this tribal, rustic and minimal tendency that they had in the two previous albums. It is the desire to search for sounds, to manipulate matter: sound matter, rhythmic matter, to knead it to its hottest point, that guided the work of composition. All vintage guitars were recorded without amps. Tambourines and other maracas were approached as a drum kit. But the harmonies and melodies are still present and sometimes event enhanced by the occasional participation of a choir of female voices or a minimal synth line. Always with this desire to use French, their mother tongue, while trying to avoid the trap of « variété française ».

With this new album, we wanted to try something slightly different with the sound. Explore new ways to record our instruments and voices. Thus we decided to put away the amplifiers that we used for rockier moods. And we tried the acoustic option. We were surprised by the wide range of possibilities, much more direct and much more emotional actually. About the texts, we still insist on this open way of writing, a mixture of abstract and concrete which offers several understandings. With this liberty in the structure, we avoid the predominance of the message, to go towards a more sensitive and open meaning.

Two years after the success of „Nem Kaldı“, outernational psych-pop sensation Derya Yıldırım & Grup Şimşek deliver their debut album, „Kar Yağar“ - and it was worth the wait! Over the course of it’s 12 tracks, the powerful sound of the Bağlama [Turkish lute] and Derya Yıldırım’s stunning vocals, builds and unravels stories together with the guitars, organs, drums, flute and bass.

Kar Yağar (which translates as „Snow Falls“) has the dynamics of an epic journey through the Anatolian highlands where deep-rooted folk effortlessly switches to sparkly improvisation or dancy pop tracks.

The album was self produced at their studio in the Auvergne-Rhône-Alpes, and the band's tour de force resides in their ability to develop their personal sound and approach whilst keeping their heart tuned to Derya Yıldırım's Anatolian roots.

The album opens with „Üç Kız Bir Ana“ (three daughters, one mother), a smooth, yet epic 5/4 track that introduces the live and psychedelic sound of the band with influences ranging from Anatolian music to 70’s jazz and early prog rock.

The title-song „Kar Yağar“ [written by Derya Yıldırım] is a fresh pop track melodically rooted in the Turkish folk music tradition. The song's lyrics, referring to snow falling in the summer, are an extended metaphor which tells a strong and emotionally charged personal story.
Here, Grup Şimşek bring out their unmistakable signature sound - light and movement inducing tempo, elegant wah wah guitars and magical quartertoned synth licks.

Original songs and instrumentals - all composed and arranged by the band - are scattered throughout the album. Notably - „Seni Hala“, a tear-drawing ballad with stripped-down acoustic arrangement and haunting choir… And Graham Mushnik’s dreamy instrumental „Çocuklar“, in which the band chose to feature a poem by one of Turkey's most renowned 20th century poet Nâzım Hikmet Ran whose title translates as „give the world to our children“. The poem is meaningfully read by Derya’s father Mustafa Yıldırım.

The LP also contains a string of Turkish folk songs, that the band entirely re-arranged whilst preserving their original spirit and soul. In „Ey Şahin Bakışlım“ Grup Şimşek pay tribute to the Alevi culture, a minority community in Turkey for which music - and particularly the Bağlama instrument - has a sacred value. A powerful and majestic version of Mahzuni Şerif’s „Dom Dom Kurşunu“ - one of Grup Şimşek fans’ favourites at live shows - is also featured.

Recorded and Mixed by Grup Şimşek
Mastered by Tim Stollenwerk at Stereophonic
Vinyl Cut by Adi Flück at Centraldubs

This live compilation attempts to replicate the seamless, infinite loop of the original Nonagon Infinity album.

Good & Evil finds Tally Hall entering a stripped-back, grittier sonic universe. Transcendental melodies guide them through a mind-bending journey of duality. Available for the first time since 2011, this cult classic is now on vinyl containing an all-new poster, CD & tape, along with a companion 7'' single.

Reverse board tip on with silver pantone print. The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog of otherwise traditional psaltery folk music, Waillee Waillee's essence sits in the confluence of Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the tremulous, cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Henry Flynt and Laraaji as much as Karen Dalton. This LP version includes 12 page booklet with unpublished manuscripts, drawings, photographs, and songbooks of the songs from the album, as well as extended liner notes from friends and family of Dorothy Carter, including notable musicians such as Laraaji, Bob Rutman, and Alexander Hacke (of Einstürzende Neubauten). Drops soon - a joint release between Palto Flats & Putojefe Records.

Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

Sault returns with a new album featuring Michael Ofo and Little Simz. NINE will be limited to a short press run of 16,000 units, never to be re-issued again!

Brilliant Live Adventures contains six exclusive and limited edition live albums providing an exciting snapshot of three Bowie tours from the 1990s. 30 years into his professional live career, these albums show great a performer Bowie still was.

NO TRENDY RÉCHAUFFÉ (LIVE BIRMINGHAM 95) is a previously unreleased live album recorded live at the Birmingham NEC 13th December 1995. This was the final show of the Outside tour in 1995 and was the first night of a five night festival promoted as "The Big Twix Mix Show”.

The set list features rare live performances of 'Jump They Say’ and 'Strangers When We Meet’. The album also features two versions of 'Hallo Spaceboy,’ the second of which was filmed as ’Spaceboy’ was the intended next single at the time. The video was never completed, as the track was subsequently remixed by the Pet Shop Boys for single release and an alternative promotional video made.

Excerpts from the show were broadcast by the BBC, and 'Moonage Daydream' and 'Under Pressure' were mixed by David Richards for release on the 'Hallo Spaceboy' CD single. Both versions on this album are previously unreleased, included here as played and mixed on the night they were performed.

NO TRENDY RÉCHAUFFÉ was produced by David Bowie and performed by Bowie – vocals and saxophone, Carlos Alomar – rhythm guitar, Reeves Gabrels – lead guitar and vocals, Gail Ann Dorsey – bass and vocals, Zachary Alford – drums, Peter Schwartz - musical director, keyboards and synthesisers, George Simms – vocals, and Mike Garson – piano and keyboards.

Parlophone Records is proud to announce THE KIT KAT KLUB (LIVE NEW YORK 99), the sixth and final installment of DAVID BOWIE 'BRILLIANT LIVE ADVENTURES', a series of 1990s era Bowie live albums released as limited one run only vinyl and CD pressings. The albums and limited edition boxes to house the full vinyl or CD collections will be available only via the David Bowie official store and Warner Music Group’s Dig! store.

Out 2nd April on CD and double vinyl, THE KIT KAT KLUB (LIVE NEW YORK 99) is a 12-track live album, recorded on 19th November 1999 in front of an invite-only audience of fans and contest winners.

The show was recorded and filmed for webcast the following month via Liveonline.net. The audio from the show was previously available exclusively as a very rare 12-track promotional CD.

The photos used on the inner gatefold of the CD and LP are by Alison Hale a fan who travelled the world to see multiple Bowie shows before she sadly passed away in 2012.

THE KIT KAT KLUB (LIVE NEW YORK 99) was recorded live at the Kit Kat Klub, 19th November 1999, produced by David Bowie, mixed by Mark Plati, and features Bowie backed by Page Hamilton - guitar, Gail Ann Dorsey - bass, vocals, Mark Plati – guitar, Sterling Campbell – drums, Mike Garson – piano, keyboards, synthesisers and Emm Gryner and Holly Palmer –backing vocals.

Limited Edition Fold Out Poster Inside!! "If you miss good old fashion, no bullshit, 100 percent rock and roll than let me introduce you to the Slamdinistas." - US Rocker "It looks like the latest capture by Rum Bar Records is the Slamdinistas from LA. Their early 70s rock is right in the pocket for Rum Bar." - Paul Blow sh This is the real deal Orange County, Sunset Strip, City of Angels, raw in-your-face street rock & roll. Slamdinistas songs get instant radio respect. Influenced on a heavy diet of 70s English Pub Rock, Punk & Classic Rock, the British scene, a la Stones & Faces, recalling the Glory Days of Rock + Roll. Their studio chemistry worked so well it is as if the band had several tours behind them. The sound born on those fateful sessions brings you Slamdinistas debut long player Shoot For The Stars.