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Ambrogio, Elisa [The Immoralist]

October 21 street date. Limbo as the space between heaven and hell where unblessed babies float, sighing; limbo as the supple-spined Calypsonian dance craze: here exists The Immoralist. Elisa Ambrogio, Magik Markers power front, lyric intelligence, guitar g’rilla, and awkward weirdo, is back, and forth too, to deposit her first full length solo outing on yer doorstep. A Cleopatra of records, viper bitten breast, bathing in milk, under hot sun, curdling and murdering and occasionally whistling in triumph, just like a milk bathed demagogue might, The Immoralist lies at the wicked crossroads of the electric wail of Wilson Pickett and the sweetest harmony of Wilson Phillips. A pox on the venal mind too workaday and SEO oriented to pick up the x/y axis what she’s putting down! Like she’d been going barefoot for years to keep her good shoes shiny for church, Ambrogio exhibits a new refinement on The Immoralist. Working with Papercuts’ Jason Quever, Elisa’s earliest childhood musical loves The Ponitails, Tiffany, and The Dixie Cups rise through the haze-n-raze of electric guitar and drums with a pop repercussion previously unexplored by Magik Markers. Glossy melodies, drums that throb with the rhythmic stamp of a celibate sect, and layers of vocals joined in harmony over stark sound-beds engage a whole new quadrant of Starship Ambrogio. Meanwhile, the endocrine hiss of Love’s Baby Soft and heart-caught-in-throat emulsion sweats from the tracks, taking Cale’s conceit of fear as man’s best friend and playing fetch with it. Here shines the dichotomy of a work that has a sadness, while it’s very existence is proof of a joy. The vestigial melancholic glow of this album could not exist without a boundless optimism, so like, what the fuck? Elisa Ambrogio has a solo record and it’s called The Immoralist is what the fuck.
Army Of The Pharaohs [Heavy Lies The Crown (2LP)]

October 21 street date. 2LP - CLEAR VINYL + INSERT + DOWNLOAD. Army of the Pharaohs return just six months after the release of In Death Reborns with its second of two albums planned for 2014. Heavy Lies The Crown is the result of one of the most productive creative periods of the AOTP crew's 16-year history. "When we started working on In Death Reborn, the songs kept coming and by the time we looked up, we realized we had enough material for two albums," says AOTP frontman, Vinnie Paz. "The hardest part for us over the years has been getting everyone back together again after finishing one record to make the next record, so we just decided to keep things rolling and make two records at one time." The Army of the Pharaohs crew was founded in 1998 by Jedi Mind Tricks frontman Vinnie Paz as homage to the incredible rap crews of the 80's and early 90's, the Army of the Pharaohs has, from its outset been an ever-evolving collective of celebrated emcees from the indie hip-hop scene.
Baptists [Bloodmines]

October 14 street date. Vancouver's BAPTISTS recently completed work on their second full-length album, the follow-up to their 2013 debut Bushcraft. Entitled Bloodmines, the new album (like the debut) was recorded at Godcity Studios in Salem, Massachusetts with with Kurt Ballou. Like its predecessor, Bloodmines is a fast, exhilarating album of rage, oozing with genuine raw emotion and punk rock fury. Shards of feedback make way for fast powerful riffs and savage vocals, whilst explosive drumming pumps blood around the band's beating heart. On album tracks like "Vistas", "Calling" and the title track, "Bloodmines", the pace changes, revealing powerful, almost anthemic, jagged noise rock akin to influential San Diego post-hardcore band Drive Like Jehu and similar acts which go beyond the two minute mark. Discordant guitar melodies and abrasive vocal passages are elongated, still volatile but perhaps allowing for further contemplation of the band's underlying message. BAPTISTS continually find new ways to express their rage and with Bloodmines they have created a memorable and commanding album.
Black Milk [If There's A Hell Below]

October 28 street date. On Black Milk’s 6th solo rap LP, "If There’s A Hell Below", Black continues the narratives he started on his 2013 release "No Poison No Paradise". This time, rather than speaking through the character Sonny Jr., Black paints pictures from a first person perspective of someone raised and living in one of America’s toughest cities, and the ups and downs of pursuing a career in the arts. The stories reflect how he and the people where he’s from feel or have felt - if there’s a hell below, maybe we’re already in it.
Bodan, Dan [Soft]

October 28 street date. "I write about the things I know, but it should be interesting for other people. So I want it to be like a really great roman-a-clef, or reading your older sisters diary." - Dan Bodan 'Soft', the new album from Dan Bodan, is a rose-scented journey through millennial love issues, Soundcloud collage, and post-empire paranoia. Co-produced with Physical Therapy and Ville Haimala (Renaissance Man) and featuring M.E.S.H., 18+, Great Skin, Latisha Faulkner, Dena Yago, and Stadium. Berlin based songwriter Dan Bodan was born in the wide open Canadian prairies and raised in Montreal. Reared on the city’s underground noise and experimental music scene, Bodan moved to Berlin 8 years ago. Blossoming in the city’s unique mixture of crumbling old-world european values, start-up philanthropy, sleepless techno and epic grey skies, he began writing songs to soundtrack his train rides through the city and make sense of it all. Working together with a team of world-class producers, poets and artists, he writes songs to fit comfortably in that space between the finger and the mousepad, the bedroom and the club, the earth and the ether. LPs includes a download code. 400 copies available on pink vinyl. Initial pressing comes in a foil-embossed sleeve.
Brown, Apollo & Ras Kass [Blasphemy]

October 28 street date. "Blasphemy", the collaborative album from esteemed Mello Music Group producer Apollo Brown and Ras Kass, is a thought-provoking and highly personal treatise on the unspoken. The sub-rattling and operatic opener "How to Kill God," a scathing indictment of major religions and the transgressions enacted in their name, serves as a statement of purpose. No "ism" is out of bounds, no topic too untoward. Whatever you hold sacred isn’t above aggressive inquiry. Behind the boards, Apollo Brown orchestrates with divine aural vision. Though "Blasphemy" is his first album with a west coast rapper, he doesn’t retread g-funk synth grooves. He also forgoes the minimal, rubbery bounce popular with the current crop of west coast talent. Amidst a sea of production crafted for the drug-addled turn up, his work is a life preserver, saving ardent hip-hop fans with hard-hitting beats made buoyant by donuts of soul and blues. On his deftly layered suites, drums hit with the force of an unabridged Bible to the dome, the samples masterfully selected and utilized. With Blasphemy, Brown has created MPC gospel, sonic scripture. In his seminal memoir Soul on Ice, Eldridge Cleaver wrote, "All the gods are dead except the god of war." Ever since Ras Kass titled his 1996 opening salvo after Cleaver’s book, the critically revered Carson, CA rapper has waged verbal warfare against all those with aims of obscuring the truth. Rappers, preachers, politicians - none have been spared from the wrath of his sharp, illuminating rhymes. Above all, this album displays Apollo Brown & Ras Kass’ undeniable synergy. Their sacred writ is the same, their blasphemy for those who want to think as they nod to the rhythm. When Ras Kass crucifies supposed facts over Apollo’s beats, it’s clear he is the West Coast’s preeminent philosopher. When Apollo’s blaring suites soothe your soul, it’s an ontological fact that he ranks among the best producers in the game. With Blasphemy, the duo has delivered the truth.
Calendar [Blues Images 2015 Calendar (with CD)]

September 16 street date. (12 month calendar with free CD) Our 2015 "Classic Blues Artwork from the 1920's" Calendar with free CD has broad appeal to anyone interested in Blues music or history. Within its pages is a huge treasure trove of original Blues artwork from the earliest days of recorded Blues history. In addition, each calendar contains a free CD that cleverly matches up each month's artwork with the original recording it advertises. These songs make the calendar come alive! ; This year's CD has a total of 24 tracks: 12 Blues classics from Blues masters Memphis Minnie, Gus Cannon, Charley Patton, Blind Lemon Jefferson and others plus 12 super rare songs by legendary Blues artists including the $37,000 Tommy Johnson Paramount 78!
Callahan, Bill [I Drive A Valence]

October 21 street date. Until we have a feature film in which Bill Callahan’s words are spoken by the true and deep characters who exist within the songs, the best format will be this lyric book - wait, no, the best format will always be the albums featuring the songs, since they are sung by Bill Callahan, the author and singer, in his own inimitable and completely individual fashion. I Drive a Valence, however, which spans two decades of Smog/ Bill Callahan songs, is a fairly unforgettable look-see; in fact, it’s a definitive-yet-concise trip through the mirror, collecting the lyrics to 70 songs and pairing them with 116 dreamy inkwash images by the man himself. The nuances and ambiguities within plain-spoke expression are at the exquisite center of Callahan’s gift, and the plain fact of words on paper nails them down in a concrete fashion that signals eternity somehow more concretely than sounds in the air can conjure. I Drive a Valence does this for the listener - makes him/her a reader, while putting Bill Callahan’s songs on another shelf where they sit just as entirely as they do on LP shelves around the world. Paperback 8" x 5.5" / 196pp
Caribou [Our Love]

October 7 street date. Our Love is formed around a mixture of digital pop production, hip hop-inspired beats, muted house basslines, and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart - all of which, of course, are filtered through Dan’s own unique perspective. The warm analog sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the record’s DNA. In fact, Our Love is probably Caribou’s most soulful record to date, chock-full of heartfelt lyrics and organic nature that cut through bubbling synths and the blissful euphoria of their synthetic constructions. It’s not all downbeat of course; whilst some thoughts linger on mortality, loss, and letting go, there is always an element of celebration. Having followed up his Polaris Prize-winning 2007 record Andorra with the universally adored Swim in 2010 (selling nearly 175,000 copies worldwide and being named Album of the Year by Rough Trade, Mixmag, and Resident Advisor whilst also hitting The Guardian, Pitchfork, Spin and Mojo’s Top 20), Dan has spent the intervening four years touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ, with epic 7½-hour-long sets. In 2012, Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dancefloor-loving pseudonym Daphni to widespread critical acclaim. Following the shape-shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim - both inward looking records in their own way - Dan withdrew to the basement once more to work on Caribou’s next opus. Only he didn’t: Our Love isn’t the sound of isolated creation but the sound of Dan at his most connected - with love for his listeners, his collaborators, and those closest to him. Caribou will be On Tour in Canada this November.
Dawnbringer [Night Of The Hammer]

October 28 street date. Led by the one-man heavy metal machine Chris Black, whom many people have claimed as the savior of modern-day heavy metal (and who should rightfully be considered the modern-day savior of heavy metal respectively), DAWNBRINGER has become a force in the more underground realms of true heavy metal over the last several years and several albums respectively (namely 'Nucleus' and 'Into The Lair Of The Sun God', both released by Profound Lore Records). Now with the new DAWNBRINGER album 'Night Of The Hammer' (which was recorded in Oakland’s legendary Sharkbite Studios) on the horizon, Chris Black is once again ready to remind us what the true spirit of heavy metal should really be all about. In an age where the majority of real heavy metal coming out today has been laughable for the most part, DAWNBRINGER serves its purpose to restore faith in the masses that real heavy metal is still alive and well. No image, no false attitude, no posturing or posing, just pure heartfelt genuine heavy metal the way it should be, 'Night Of The Hammer' is another glorious chapter in the DAWNBRINGER repertoire that will showcase Chris Black as one of heavy metal’s true visionaries today.
Ex Hex [Rips]

October 7 street date. Ex Hex is a power trio hailing from Washington, DC, making the music you’ve been waiting for. Drums, bass, guitar, P90s, searing leads - this is unapologetic rock ’n’ roll spat out in the discipline’s mother tongue. With Wild Flag on hiatus, Mary Timony (Autoclave, Helium) needed a new outlet, so she retreated to her basement and started writing. To her surprise, the songs came easily and the hooks practically wrote themselves. Mary found Laura Harris (The Aquarium, Benjy Ferree) and they hit it off immediately. Laura is a monster on drums: intuitive, solid, and just a bit rough around the edges. The pair played together for a couple of months in a tiny carpet-lined practice space shared with half a dozen hardcore bands and what appeared to be the better part of a B.C. Rich Mockingbird. In walked Betsy Wright from the wilds of Virginia. She and Mary have similar tendencies, both defaulting to denim and The Voidoids. Betsy is a performer and an ace piano player, and before long, she was slinging a cherry SG as the third member of Ex Hex. The group played a handful of shows and a couple of months later, in the spring of 2014, headed into the studio. Working furiously, they recorded over the span of two weeks in North Carolina with Mitch Easter (Let’s Active) and in the basement of Mary’s home with frequent collaborator Jonah Takagi. Bobby Harlow (The Go, Conspiracy of Owls) was tapped to mix because of his unique take on making rock records. What results is Ex Hex Rips, twelve songs about underdogs, guys stealing your wallet, schoolyard brawls, and getting bent. The record happens pretty quickly, so don’t blink. On Tour in Canada during the month of October! Pressed on 150g black vinyl. Includes full album download coupon.
Jawbreaker [24 Hour Revenge Therapy (2014 re-issue/6 bonus tracks)]

October 14 street date. Presenting... A much needed 2014 reissue of Jawbreaker's hit album!! (Now with digital download card!) One of the most popular and successful underground bands of the early- / mid-’90s, California’s Jawbreaker was comprised of Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums). The band melded raw vocals, a driving rhythm section and grinding guitar with complex song structures and literary lyrics, forging a distinctive style that has since, along with Schwarzenbach’s subsequent band Jets to Brazil, influenced a generation of independent music. By the end of 1993, Jawbreaker was in full stride. The band had completed a full US tour in the summer, played several shows that October with Nirvana, and was attracting significant major label attention. 24 Hour Revenge Therapy, released in early 1994, was Jawbreaker’s third album. After the more "progressive" Bivouac, the trio had returned to a straightforward, poppier sound, and the resulting full-length is widely regarded as their best. The bulk of the recording was done by noted independent producer Steve Albini (though it is officially credited to Albini’s cat, Fluss). Following the mainstream success of fellow Californians Green Day and Rancid, Jawbreaker decided to sign with DGC. They released a final studio album, Dear You, before calling it quits in 1996. A feature-length documentary on the band is currently in the works.
Jean, Olivia [Bathtub Love Killings]

October 14 street date. Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and the Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira’s Movie Macabre. Produced by Jack White (who also plays guitar on 'Cat Fight'), Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn-near every instrument she could get her hands on, the result is a well-rounded, catchy record that’s chockfull of ear worm moments. LP contains download code.
Juan Maclean (the) [In A Dream (2LP)]

October 14 street date. The dance world way too often privileges the new, and not many dance artists write albums as good as In A Dream, the third full-length album by The Juan Maclean, this far into their career. The Juan Maclean have weathered electroclash, disco-punk, electro-disco, techno, house, deep house, and whatever we can call the sound of today. They never feel totally in step with the moment, but somehow always feel right and necessary. Put differently: there’s always something exciting to say about these guys. Let’s start with Nancy Whang. Nancy’s voice has always been a kind of secret weapon on The Juan Maclean records, but this album is her triumph. Just take a look above at the album art where she’s front and center This is the Nancy Show -- you get all sides of Nancy on this record, a wide range of expression. These are all love songs, but emotions run wild. And you can’t pull this off without Nancy -- she’s not living in these songs, she’s leading them. Like every Juan record, this one quotes freely from house and techno and disco. Dead drums and vintage synthesizers. This is a DFA record, after all. But early on in their career, The Juan Maclean stopped sounding like genres and just started sounding like The Juan Maclean. Part of that is lyrical -- how the words interact with the melodies that carry them. The diction is always off in all the right ways. Another part is how much fun Juan and Nancy have with the arrangements of their songs. Different parts interact and play off one another in a way that’s remindful of the interplay on classic disco records.
Menace Ruine [Venus Armata]

October 14 street date. The duo that comprise Montreal, Quebec’s MENACE RUINE (S. De La Moth and Genevieve) have been known to create some of the most alluring and mesmerizing music within the experimental/ambient/noise movement. Their music is very enigmatic, seductive, and hypnotizing by mixing elements from industrial music, classic goth, martial ambient, noise, and neo-folk into a wondrous sonic amalgam that puts them within a niche all unto their own. 'Venus Armata' is the duo’s fifth album and aving already worked with such labels as the respected Canadian experimental label Alien8 and experimental UK label Aurora Borealis, and having played live with such artists as Mamiffer, Ash Borer, Nadja, Daniel Menche, Wolf Eyes, Watain, Aluk Todolo, along with playing the prestigious Roadburn Festival three years ago where they were personally invited by Sunn 0))) to play on said band’s curated day, the duo decided it was time to take it to the next level by working with Profound Lore Records with their 2012 release 'Alight In Ashes'. Said album brought MENACE RUINE a new level of awareness. With the new album 'Venus Armata', MENACE RUINE continue to expand their sonic canvas even further by creating their most intriguing and next-level album to date in what will become recognized as one of the most mesmerizing albums in experimental/ambient music released this year.
Museum Of Love [Museum Of Love]

October 14 street date. Museum of Love is the musical project of Pat Mahoney (Founding member of LCD Soundsystem) and Dennis McNany (Jee Day). Longtime friends in New York, McNany and Mahoney found a similar sensibility and a shared vocabulary for interpreting surroundings, something that began with their remix of Battles’ 'My Machines feat. Gary Numan' and extended into their creation of a full length record together. Naming their duo in ode to Daniel Johnston’s song of the same named, Mahoney divulges, "I had always loved the song, and had been thinking of what such an edifice would contain when we were trying to name the project." McNany continues, "Pat’s a sculptor, I’m a painter, we make music and museums are sacred spaces and love is an elusive thing." McNany did most of the songwriting as well as production and instrumentation, while Mahoney is on vocals and of course, drums, but Museum of Love was an entirely collaborative process as the two edited and arranged tracks in the studio. Mahoney says the process of collaboration was energizing, while McNany simply explains, "making the record was pure pleasure. Waiting for it to come out has been the hardest thing." First pressing is limited to 500 clear red colored vinyl, includes digital download.
Pianos Become The Teeth [Keep You (LP+ CD copy)]

October 27 street date. Pianos Become The Teeth are from Baltimore, Maryland; the band made waves on the scene with their 2009 debut Old Pride and gained national attention with 2011’s The Lack Long After. Their third album and Epitaph debut, Keep You, sees the band taking a brave step forward to craft a musical statement that truly transcends genres. "There’s still the same amount of passion and energy inherent in this record, it’s just presented in a different way," frontman Kyle Durfey explains. The immediately noticeable difference is Durfey’s vocal approach that sees him traded the throat-gutting screams of the band’s early releases with cleaner, more intelligible vocals. However anyone who has followed the band’s trajectory - specifically the song 'Hiding' from their 2013 split with Touché Amoré - can trace the way the band’s sound has evolved from a melodic screamo act to a group that create heaviness and weight via raw emotion instead of distortion and dissonance. Capturing the band’s creative vision this time around, producer Will Yip (Circa Survive, Braid) enhances the band’s new vision, bringing out harmonies and swelling strings that compliment these songs in exciting ways that even the band couldn’t initially predict. "I think it’s a musical growth not a departure," Durfey summarizes. "I wouldn’t say we would never make another overtly aggressive record again but this is the record we wanted to make." (For fans of Circa Survive, Title Fight, Touche Amore, La Dispute.) LP comes in a gatefold jacket with CD copy.
Rancid [Honor Is All We Know (LP+CD)]

October 27 street date. Regular LP version, includes CD! Rancid’s new record 'Honor Is All We Know' is much like their other records in the sense that it is filled with the stories and characters that populate the band’s lives, and reflects the cultural and political climate in which it was written and recorded. It has classic Rancid songcraft: two minute songs packed with melody, personally empathetic and politically denunciatory. But Honor Is All We Know is also unique in that it is filled with the growing insight of a band who has been doing this for a while now: it feels natural and organic, written without an agenda or a bone to pick, rather the culmination of lives lived largely with a keen interest in the world and a sense of brotherhood. In the late 1980’s Tim Armstrong and Matt Freeman of Rancid were founders of arguably the most influential band from the Bay Area Operation Ivy. Operation Ivy has been cited by everyone from Green Day’s Billie Joe Armstrong to Fat Mike of NOFX as the group that most affected the sound of their own bands. Rancid has lead in extensive career since those days back in the East Bay including selling nearly 3 million albums with one Platinum album and one Gold Record under their belts (And Out Come the Wolves, Let’s Go). In the midst of anniversaries for both albums, Rancid will be playing some high-profile festival shows in 2015, and the moment has never been better for old and new fans to remind themselves of the cultural force and punk rock power of Rancid.
Today Is The Day [Animal Mother]

October 14 street date. Southern Lord Recordings is beyond stoked to broadcast that influential, visionary metal act, TODAY IS THE DAY, has joined with the label's roster for the release of their massively anticipated tenth studio album. Early this year, TODAY IS THE DAY's newest lineup was announced, as the foundation of the then unnamed album was taking shape. Guitarist/vocalist Steve Austin welcomed Sean Conkling (Regression, Burn Your Halo, Sprawl) on bass as well as returning member Jeff Lohrber (Enabler, ex-Harlots), Lohrber having previously handled touring drum duties for TITD many times in the past. Conkling and Lohrber tracked most of their sessions in December and January at the founding frontman's own Recording and Mastering Studio in Maine. "Sometimes things just dial-in and align perfectly," Steve Austin stated on signing with Southern Lord for the release of Animal Mother. "Myself and TODAY IS THE DAY are extremely excited about working with Southern Lord Records and Greg Anderson. To me they have the right idea about the kind of music they release; heavy, real, experimental, integrity-driven music is what the label represents to me. TODAY IS THE DAY's Animal Mother LP on Southern Lord in 2014... I don't think I could ask for anything more!" Early this year the frontman warned the public that the album is "a fifteen-song rampage of bloody carnage fueled by hate, love and vile, raw emotion," continuing, "I feel it is my finest work to this date. It is the most complex and HEAVY record we have ever made. This is real -- no bullshit Protools crap; just pure violent energy and real band songwriting in the middle of the woods in Maine. It lies somewhere between Temple of The Morning Star and In The Eyes of God, and Jeff's playing is beyond incredible. I was determined to push the limits in complexity, musicianship, and creativity as far as we could and I feel we have put together a record that narrates the horror and pain that we have been living through."
Unwound [No Energy (3LP)]

October 14 street date. As a robust rock underground got swallowed alive by the Major Label Industrial Complex, the very autonomous Unwound "Olympia, Washington’s Great Noise Hope" toed the troublesome line between pay check and Check Engine light. Captured in the gaps of a ruthless touring schedule, defining fourth and fifth albums The Future of What and Repetition were issued in the back-to-back springs of 1995 and ‘96. Both find the band severing their post-hardcore roots, for gripping detours into Echoplex, kraut, D&B, and Mingus, as guided by a sun-worn copy of Book Your Own Fuckin’ Life. No Energy collects both of these 1990s masterworks, beginning with Justin Trosper’s home-made haircut stabs on 'New Energy', continuing with Vern Rumsey’s reanimating bass on 'Corpse Pose', and closing in a wall of Sara Lund crash cymbals on 'For Your Entertainment.' This 33-song collection is buttressed by singles and period live tracks, a pile of double-exposed photographs, and a 10,000 word essay by latter-day Unwound diarist David Wilcox.
V/A [Local Customs: Cavern Sound (2LP)]

October 28 street date. Not quite hell, but close enough. Local Customs: Cavern Sounds covers six years lost in the deranging darkness of Independence, Missouri’s Pixley limestone mine, where a team of misfit engineers captured the reverberating echoes of Kansas City’s rock ‘n’ roll blasting cap. Taped in the subterranean studio headspace of Cavern between 1967 and 1973 are previously unissued recordings by Jaded, Larry Sands & the Sound Affair, Sheriff, Mulligan, Stone Wall, Morningstar, the Montaris, and the Dantes, alongside the most explosive tracks released on KC’s Pearce, Rock, and Cave labels by the likes of the Reactions, Burlington Express, the Classmen, Fraight, American Sound Ltd, Baxter’s Chat, 21st Century Sound Movement, Pretty, Tide, and A.J. Rowe.
V/A [Bring It On Home: Black America Sings Sam Cooke]

November 4 street date. Black America has been singing Sam Cooke for more than half a century. The volume of great songs that Sam wrote in a secular career spanning barely seven years is matched by the quality of those songs - many of which are fundamental to the evolution of soul music in the early-mid 60s. It’s therefore logical and right that Sam should appear in Ace’s occasional 'Black America Sings' series, as he does this month in a package issued close to the 50th anniversary of his death in December 1964. 'Bring It On Home' features some of Sam’s best-known songs (as well as - this being Ace - some of his least-known), many performed by artists whose careers Sam helped to get underway, including Johnnie Taylor, the Simms Twins, Mel Carter, and Bobby Womack. Also featured are a number of singers who owe a vocal debt to Sam, including Brenton Wood, R.B. Greaves, Johnny Nash, Otis Redding and Louis Williams of the Ovations. 21 of the 23 featured recordings have never appeared on an Ace or Kent CD before. A suitably fitting tribute to a true giant of popular music and one whose influence pervades to this day.

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BOARDS OF CANADA "HI SCORES" - Pitchfork Rating: 8.7
(SKAM - SKA008 - 12" or CD)
http://pitchfork.com/reviews/albums/19832-boards-of-canada-hi-scores-ep/



TRANSLLUSION "THE OPENING OF THE CEREBRAL GATE"
Pitchfork Rating: 8.5 Best New Reissue
(TRESOR - TRESOR270LP or TRESOR270CD)
http://pitchfork.com/reviews/albums/19824-drexciya-transllusion-neptunes-lairthe-opening-of-the-cerebral-gate/


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