{"title":"Folk \/ World \/ Country","description":"","products":[{"product_id":"airto-natural-feelings","title":"Airto - Natural Feelings","description":"\u003cp\u003e\u003cspan\u003eFirst vinyl reissue in over 45 years for a long-lost, pivotal jazz fusion record! This album, originally released in 1970 on the thinly-distributed Skye label, marks Airto's debut as a bandleader and captures the percussionist right at the time he recorded Bitches Brew with Miles Davis, and right before he joined Weather Report for their first album. Indeed, the line-up on this album reflects the fact that Airto had one foot in the NYC jazz scene and one foot in his native Brazil, as bassist Ron Carter joins Airto's countrymen Sivuca and Hermeto Pascoal, along with Airto's wife Flora Purim. The music's a fascinating blend of jazz-funk-fusion and Brazilian tropes, here presented on 180-gram black vinyl, housed inside the original wild, Hieronymus Bosch album art. Limited to 500 copies!\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227839180866,"sku":"","price":29.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/848064008842_1024x1024_005438c0-9dbe-4c69-847d-17e1bdc586a0.jpg?v=1595456946"},{"product_id":"augustine-angelo-de-tomb","title":"Angelo De Augustine - Tomb","description":"\u003cp\u003e\u003cspan\u003eTomb reflects a beginning for Angelo — both emotionally and in his career. It’s a motion towards positivity, addressing lost love, the worthwhile cost of honesty, and the ramifications of regret. In the end, Tomb isn’t about burying or hiding something away, it’s about opening the seal and letting something new emerge. It’s about telling people how you feel when you feel it, instead of burying everything over the span of years. Like the best heartbreak albums, Tomb transforms inward pain into universal beauty. The songs have helped him to heal and now they can help those who hear them. “This album is, at its core, a prayer for hope and clarity, and a prayer for love,” Angelo says.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227842490434,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0191862706_16.jpg?v=1594753377"},{"product_id":"boygenius-boygenius","title":"boygenius - s\/t (5th Anniversary Yellow Vinyl)","description":"\u003cp\u003ePhoebe Bridgers, Lucy Dacus and Julien Baker formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.  \u003c\/p\u003e\n\u003cp\u003e“When we met, Lucy and Phoebe and I were in similar places in our lives and our musical endeavors, but also had similar attitudes toward music that engendered an immediate affinity,” Baker explains. “Lucy and Phoebe are incredibly gifted performers, and I am fans of their art outside of being their friends, but they are also both very wise, discerning and kind people whom I look up to in character as much as in talent.”\u003cbr\u003e\u003cbr\u003eWith gut-wrenchingly personal yet easily relatable verses and spare, lilting melodic arrangements, all three are leading a new rock vanguard that values unflinching self-awareness and unassailable songcraft. Baker’s sophomore LP Turn On the Lights and Bridgers’ debut Stranger in the Alps swept best-of-2017 lists, while Dacus’ meditation on loss, Historian, has already become one of 2018’s most lauded releases. “A long time ago, before I even met Phoebe, Julien mentioned that she had a pipe dream of starting a band with both of us,” says Dacus. “Then we booked this tour and decided the time was right.”\u003cbr\u003e\u003cbr\u003e“It seemed obvious to record a 7-inch for tour, although many adult men will try to take credit for the idea,” adds Bridgers. “When we got together, we had way more songs than we expected and worked so well together, that we decided to make a full EP.”\u003cbr\u003e\u003cbr\u003eIn early June of 2018, they practiced and wrote for a day before holing up in Los Angeles’ storied Sound City studios, eventually taking the EP to Bushwick for mastering courtesy of Heba Kadry (Björk, Slowdive, Beach House). Each brought one finished song and one idea to boygenius, and though all six songs were fleshed out and finalized together, each reflects the sensibilities of its initial author. Baker’s slow builds and taut vocals add urgency to “Souvenir” and “Stay Down,” while album opener “Bite the Hand” roils with slow-burning layers of guitar as Dacus stands in her devastating truth: “I can’t love you like you want me to.” The Bridgers-architected “Me \u0026amp; My Dog” chugs into view with a deceptively simple open-road riff and Bridgers’ insistent recounting of a relationship that couldn’t help but fall apart.\u003cbr\u003e\u003cbr\u003e“Everyone seemed both confident enough to present ideas and fight for their individual vision, but considerate and humble enough to make decisions which ultimately served the song,” says Baker. “It was a process that required a balance of determination and forthrightness with graciousness and pliability, and I think that we all did a good job of enacting that.”\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227855073346,"sku":"LP-OLE-1408C","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/ole-1408-boygenius.jpg?v=1630347969"},{"product_id":"carter-family-american-epic","title":"The Carter Family - American Epic: The Best of The Carter Family","description":"\u003cp\u003eThe Carter Family were defining stars of early country music, establishing a sound and repertoire that has been the bedrock of the genre ever since. A family trio from the mountains of Virginia, they featured the gorgeous lead vocals and autoharp of Sara Carter, an astonishing repertoire of songs collected and composed by her husband A.P. Carter, and the instrumental skills of Maybelle Carter, one of the most influential guitarists in American music. These recordings were imitated, covered, and formed the basic repertoire for generations of legendary performers, including Woody Guthrie, Bill Monroe, Joan Baez, and Johnny Cash, who married Maybelle’s daughter June. This album includes their most influential and famous songs, a matchless trove of classic Americana.\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227857793090,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/813547024282.jpg?v=1605646066"},{"product_id":"cohen-leonard-songs-of-love-and-hate","title":"Leonard Cohen - Songs of Love and Hate","description":"\u003cp\u003e\u003cspan\u003eSongs of Love and Hate is the third studio album by Canadian singer-songwriter Leonard Cohen. Produced by Bob Johnston, the album was released on March 19, 1971, through Columbia Records. Cohen reunited with producer Bob Johnston, who was at the helm for the singer's previous album Songs From a Room, and also brought back guitarist Ron Cornelius, who acted as leader of Cohen's new crew of backing musicians,\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227861102658,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/718lfoQ6EXL._SL1500.jpg?v=1638382505"},{"product_id":"destroying-angel-making-beds-in-a-burning","title":"Destroying Angel - Making Beds in a Burning House","description":"\u003cp\u003e\u003cspan\u003e\"Years ago we released what would be the last release from Philly synthpunk band SGNLS. Near the end of SGNLS the keyboardist \/ front person TONY began working with some new musicians on DESTROYING ANGEL. They create a sound that merges artpunk, postpunk, and even touches of synthpunk. After two sold out LP's on Not Just Religious Music (King Dude) we are proud to be co-releasing this LP with Grotesque Figurines. The vinyl will be limited to 300 pieces.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227868770370,"sku":"","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0959186290_16.jpg?v=1596222486"},{"product_id":"dylan-bob-freewheelin","title":"Bob Dylan -  The Freewheelin' Bob Dylan","description":"\u003cp\u003e\u003cspan\u003eThe Freewheelin' Bob Dylan is the second studio album by legendary singer\/songwriter Bob Dylan. Whereas his self-titled debut album Bob Dylan had contained only two original songs, Freewheelin' represented the beginning of Dylan's writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions. 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The album featured several other songs which came to be regarded as among Dylan's best compositions and classics of the 1960s folk scene: \"Girl from the North Country\", \"Masters of War\", \"A Hard Rain's a-Gonna Fall\" and \"Don't Think Twice, It's All Right\".\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227870638146,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81SCHwHDU_L._SL1500.jpg?v=1636398414"},{"product_id":"feelling-kreyol-las-pale","title":"Feeling Kreyol - Las Pale","description":"\u003cp\u003e\u003cspan\u003eStrut present the first ever international reissue of in-demand ‘80s zouk LP ‘Las Palé’ by Feeling Kréyol, out of Guadeloupe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProducer Darius Denon explains: “This was 1988 and bands like Zouk Machine and Kassav were huge. I had met producer Frankie Brumier when I was performing at festivals and parties and he wanted to record a girl group so we began scouting venues, mainly around the Grande-Terre district in the island’s capital, Pointe-à-Pitre. I ran auditions and picked out the best three voices – Fabienne, Leïla and Yolande. One was singing in a choir and none of them had met each other previously.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecording at a studio in Le Gosier, Denon trained them to sing the songs and spent around 6 weeks recording the album: “I gave them a couple of compositions that I had planned for my own solo album. I remember that we all got on really well; the sessions were fun.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title track ‘Las Palé’ was the lead track pushed as a single and achieved modest success domestically. The band did a few promotional performances in the island’s discotheques but, in the end, the album stalled. “Studios were expensive and there was no cheap technology as we have now. So, the producer ended up cutting corners with the production – the mix was not completely\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003efinished and the voices were not synchronised right to some of the tracks.”\u003cbr\u003e\u003cbr\u003eFor Denon, he continued his career to the present day, successfully moving to Paris and breaking through with the hit ‘Je t’emmene’ in 1998. Meanwhile, although ‘Las Palé’ turned out to be Feeling Kréyol’s only recording, the interest in the album has grown in recent years with the title track’s lo-fi charm finding its way into sets by Invisible City and onto Red Light Radio, NTS and more. This first full reissue is remastered by The Carvery and features full original artwork along with a new interview with Darius Denon.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227875258434,"sku":"LP-STRUT-195","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3744277554_16.jpg?v=1595455141"},{"product_id":"holley-lonnie-mith","title":"Lonnie Holley - MITH","description":"\u003cp\u003e\u003cspan\u003eThe expansive American experience Lonnie Holley quilts together across his astounding new album, MITH, is both multitudinous and finely detailed. Holley’s self-taught piano improvisations and stream-of-consciousness lyrical approach have only gained purpose and power since he introduced the musical side of his art in 2012 with Just Before Music, followed by 2013’s Keeping a Record of It. But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAcross these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter (“I’m a Suspect”), Standing Rock (“Copying the Rock”) and contemporary American politics (“I Woke Up in a Fucked-Up America”). A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMITH was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, visionary producer Richard Swift, saxophonist Sam Gendel and producer\/musician Shahzad Ismaily.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227883450434,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3829842247_16.jpg?v=1602263881"},{"product_id":"konan-antoinette-antoinette-konan","title":"Antoinette Konan - s\/t","description":"\u003cp\u003e\u003cspan\u003eIt makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eKnown as the “Queen of the Ahoko” among Ivorians, Konan single-handedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped. A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e-recognized music industry.\u003cbr\u003eMusic plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from present-day central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music.\u003cbr\u003eIn 1976, she got her start with Ivory Coast’s National Television Orchestra (ORTI), backing major Ivorian stars on Podium, a program featuring youth culture hero Roger Fulgence Kassy. By 1980 she was playing in Musicaria, visionary Ivorian bandleader Boncana Maïga’s group. With Maïga, she expanded her creative horizons and learned new approaches. She also worked with influential producer Jimmy Hyacinthe’s band. His artistic agency in Treichville—Abidjan’s music industry epicenter at the time—further inspired Konan. She would hang out there after school.\u003cbr\u003eKonan had a difficult time balancing school and music but enrolled in a music program at INA (National Institute of Arts, where she later also taught classes) and was able to both travel for concerts overseas and study music. Meanwhile, she managed to work with some of Abidjan’s key arrangers and music-makers.\u003cbr\u003eMusic manager Amedé Koko Tanoh, who was also involved in the agency where Konan socialized, provided the original impetus for her to learn the ahoko in 1981 as a way to distinguish herself from other artists. He took her to study with a professional ahoko player, an old woman who began to teach Konan. But she soon brushed the young lady off and wouldn’t teach her any more. Konan continued on her own until her mother asked where she got the instrument. It turned out her mother knew how to play also, so Konan began to study with her mom. She taped her mom’s ahoko playing so she could practice back at university.\u003cbr\u003eDuring this early period, Konan borrowed clothes because she could not afford performance attire. Despite some ridicule she persevered. Music impresario George Tahi Benson, one of her key mentors, told her, “It’s good to dress the way you do. But what if you instead make the difference by promoting the local cloth, the Baoulé cloth.” She again got some negative feedback when she changed to traditional gowns. But it became her trademark look and gradually became trendy among Ivorians all over the country.\u003cbr\u003eKonan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society.\u003cbr\u003eTaking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums. Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger.\u003cbr\u003eOver the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. 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A huge influence on the new direction is Matthew McCaughan (of Bon Iver and Hiss Golden Messenger), who produced and co-wrote large parts of the album with Kurt Wagner (Lambchop frontman) over a period of two years.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227891642434,"sku":"","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2001387883_16.jpg?v=1596734532"},{"product_id":"mazouni-un-dandy-en-exil-algerie","title":"Mazouni - Un Dandy En Exil ( Algérie- France 1969-1983 )","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDead cool but fervent Algerian pop from the ‘60s\/‘70s, rife with killer Chaabi breaks and twists on rock ’n roll and French yé-yé - the first compilation dedicated to Mohammad Mazouin, and including songs impossible to find elsewhere \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Mohamed Mazouni, born January 4, 1940 in Blida (The City of Roses), a city which had just turned twenty. His memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by 'asri (modern music) masters Bentir or Lamari. He began his singing career in those years, chosing bedoui as a style. In June 1965, Algeria adopted a Soviet-style profile where everything was planned, even music. Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean. During the 1950s and 1960s, Mohamed was dumbfounded by Oum Kalsoum's songs and scopitones. Fully immersed, he soaked up the songs of Dahmane El Harrachi, Slimane Azem, Akli Yahiaten, or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock n' roll as embodied by Johnny Hallyday, Les Chaussettes Noires, or Les Chats Sauvages, not to mention Elvis Presley.\u003c\/p\u003e\n\u003cp\u003e Between 1970 and 1990, he had a series of hits. Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname \"Polaroid singer\". Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France's young migrant zazous. At the end of the 1990s, the distribution of Michèle Collery and Anaïs Prosaïc's documentary on Arabic and Berber scopitones highlighted Mazouni's importance. Mazouni did not stop singing and even had a few local hits, always driven by a \"wide targeting\" ambition.”\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227896426562,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/3521383453599.jpg?v=1594727456"},{"product_id":"mighty-sparrow-the-the-slave","title":"The Mighty Sparrow - The Slave","description":"\u003cp\u003eBob Marley has been quoted as saying “When I heard Mighty Sparrow sing 'The Slave,' I knew what I wanted to do with my music.” The prolific and incendiary Sparrow creates calypso sounds so mighty that they’ve won him multiple titles of Calypso King in his native Trinidad. Recorded almost immediately after cessation of his RCA contract, this first-ever reissue of his 1963 National Record Company album is filled with Sparrow’s iconic singing style, wit, and (at times) scathing and provocative lyrics, including the salty tale of a “Stupid Married Man” and the topical tune of “Kennedy \u0026amp; Khrushchev”!\u003c\/p\u003e\n\u003cp\u003eThis is the first ever LP reissue of the iconic debut of Sparrow’s own National Recording Company. 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She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, \"My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u2029La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.\u2029\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eShe'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eworldwide touring career at the vanguard of Malian popular music.\u003cbr\u003e\u003cbr\u003e\u2029Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp.\u003cbr\u003e\u003cbr\u003e\"When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career.\u003cbr\u003e\u003cbr\u003e\"\u2029These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.\u003cbr\u003e\u003cbr\u003eTranslation of back cover text\u2029:\u003cbr\u003e\u003cbr\u003eNahawa Doumbia was born in 1960 in Mafele, in the administrative unit of Manankoro, Bougouni circle in the Republic of Mali. Due to the cruel loss of her mother one week before her birth, she quickly gained inspiration from those around her. Which gave her inspiration for songs. Nahawa Doumbia soon worked for the theatrical troupe of her district. Several times, she performed for her region at the biennial arts and cultural youth of Mali in Bamako. After several entries in “nuits des vedettes” (“star nights”), she competed in 1978 and 1980 as a solo singer and won 3rd and 1st place, respectively. Her fame has transcended national borders. She also participated in the largest contest called \"Decouvertes 81\" (\"Discoveries 81\"). 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Side 2 is Seeger playing a more familiar repertoire of traditional folk music on banjo, guitar, and chalil (flute) (“Sally My Dear”).\u003c\/p\u003e\n\u003cp\u003eThe vinyl reissue of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGoofing-Off Suite\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eincludes Pete Seeger’s liner notes and is part of Folkways Records’ 70th anniversary celebration series, revisiting some of the most iconic and influential albums released on the record label.\u003c\/p\u003e","brand":"warner ada","offers":[{"title":"Default Title","offer_id":32227922346050,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/FW02045.jpg?v=1594694671"},{"product_id":"six-organs-of-admittance-companion-rises","title":"Six Organs of Admittance - Companion Rises","description":"\u003cp\u003e\u003cem\u003eBen Chasny sets fire to his sound in ‘Companion Rises’ with a strong influence from kosmische electronics and psych-pop added to his root blues and avant-garde inspirations, arriving at a sort of Sci-Folk style shared by the likes of\u003cstrong\u003e Current 93\u003c\/strong\u003e, \u003cstrong\u003eAlexander Tucker\u003c\/strong\u003e and \u003cstrong\u003eSun City Girls\u003c\/strong\u003e.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e “Six Organs of Admittance is back after 3 years with a new record, new techniques in sound generation, and a new attitude. Companion Rises has a driving force only hinted at with previous releases. Manipulating the rhythmic DNA from songs such as the bass-dominated “Taken by Ascent” (on his last record, Burning the Threshold), Ben Chasny has grown a new sound creature in his lab that is as welcoming as it is terrifying and as fun to listen to as it provocative and intriguing.\u003c\/p\u003e\n\u003cp\u003e Methodologically, Companion Rises sometimes recalls the early-mid low-fi work of Six Organs, with modern techniques swapping digital processes in for the analog techniques of those early days, and algorithmic programs creating the rhythms rather than Ben’s overdubbed hand percussion. Also like those early records, Companion Rises has Ben creating all the sounds, doing all the recording and mixing the entire record himself. But do not mistake this as some sort of return to an older sound. One listen and it is obvious that this Six Organs of Admittance release is all in the present. One thinks of Octavio Paz’s oft used metaphor of the concentric circle, as Companion Rises returns to a similar place but is much farther out from the center.\u003c\/p\u003e\n\u003cp\u003e Sonically, Ben’s songs are bursting with ideas, harmonically rich, gorgeously arranged; often presenting two versions at once, overlaying electric and acoustic treatments that interlock like two shards that form a single key. Companion Rises plays like a mutant joining of avant and good-time forces, as if Faust produced The Revolution instead of Prince, or This Heat recorded on top of Amon DuuI’s classic \"Paramechanical World,\" but left a few of the original tracks to bleed through. Waves of electric fields wash across the record like a charged Pacific Ocean and guitar solos slice through at various intervals in a warped and fractured way of shreddage, not totally unlike the imagined sound of Edie Hazel jacking into the CPU in Tron.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThematically, many songs on Companion Rises seem to navigate a similar Stellar-Gnosticism that 2012’s Ascent explored, but with a completely different set of stories. Whereas Ascent was locked into a narrative concerning a sentient Jupiter, Companion Rises presents a handful of folk-tales whose topics span in scope from panspermia to specific constellations, all written in a way that eschews new age presentation tropes and embraces the now. 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Congolese rumba, a wild combination of African, Jazz and Latin influences, created future stars of its now legendary creators – Franco, Grand Kalle, Tabu Ley, Dr. Nico, Papa Wemba - and all feature here in their ground-breaking early groups such as O.K.Jazz, Brazzos, Rock-A-Mambo, African Jazz and The Beguen Band.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \"The Congo is in fact two countries – The Democratic Republic of the Congo (DRC, formerly Zaire) and the Republic of the Congo. 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Volume Four, released in 2010, featured all contemporary players, giving many folks their first taste of William Tyler, C Joynes, Chris Forsyth and Tyler Ramsey. The label then started farming out curation duties to others : Sam Moss for Volume 5, Chris King for Volume 6 (Origins of American Primitive Guitar), Hayden Pedigo for Volume 7, and Michael Klausman \u0026amp; Brooks Rice for Volume 8 (The Private Press).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTompkins Square recruited label alum Ryley Walker to compile Volume Nine. Given his deep Rolodex and exquisite taste, it's no surprise that this comp is probably the most diverse of the series. 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Never one to turn down a creative opportunity, Wauters packed up his 100 pound mobile recording studio into two suitcases and took off to Buenos Aires. When filming was complete, Wauters wound up writing and recording all over Latin America — from Argentina, Uruguay, Peru, and Chile to Mexico and Puerto Rico — seeking collaboration at every stop with local musicians who embody the traditions and energies\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003especific to each region.\u003cbr\u003e\u003cbr\u003ePuerto Rico was one of his first destinations. At a restaurant on the way to Charco Azul in Guavate – a natural swimming hole – Wauters heard a duo playing boleros, music he has been familiar with since his early childhood, but had never experienced in its original context. 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His music carries the feeling of Xenatia, a Greek word that roughly translates to \"a catastrophic longing for home.\" This mournful sound made him popular among homesick Greeks in early 20th-century America, and speaks to anyone who has felt that loss.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eZoumbas' original recordings were recently uncovered in pristine condition and have been restored in incredibly clear and present sound quality. This new compilation features previously unissued takes and stunning solo improvisations. LP and digital versions include an 8 page booklet with extensive biographical notes and unreleased photos, and is co-released by Orpheum Phonograph, Olvido Records, and Mississippi Records.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e*Please note: this is a new production with unique and previously unreleased songs, art, and liner notes, and is entirely unrelated to the \"Lament For Epirus\" compilation (Angry Mom, 2014), which we wholeheartedly recommend.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227949772866,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0079677542_16.jpg?v=1594403921"},{"product_id":"steve-von-till-no-wilderness-deep-enough","title":"Steve Von Till - No Wilderness Deep Enough","description":"\u003cspan\u003eOver the course of recent time, an aching, growing void has developed where our normal way of life has resided. 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These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eVon Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eVon Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003epsychedelic music of his Harvestman project and the unique folks songs he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.\u003cbr\u003e\u003cbr\u003eWith a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.\u003cbr\u003e\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32414467522626,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3678735570_16.jpg?v=1598644743"},{"product_id":"v-a-ghost-memories","title":"V\/A - Ghost Memories","description":"\u003cspan\u003eThe companion to Six Feet Under, now finally back in print with a brand new cover! 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Is this scenario even possible? Born 1929 in San Antonio, TX, MARTIN HURON SOLIS, JR. and his family came to Michigan in 1942 as migrant farmworkers and soon settled in the Detroit area. The Solis family was part of a wave of migration during the 1940s that brought thousands of Texas-born Mexican-Americans, along with their culture, north. Though he played guitar from an early age, Solis eventually fell in love with conjunto music, a South Texas style defined by the combination of accordion and bajo sexto, a Mexican twelve-string bass guitar. He taught himself to play the bajo sexto and joined up with accordionist Manuel Rivera, playing for tips in bars around Southwest Detroit, the heart of Detroit’s Mexican-American community. In the late-1950s, he and his cousin WILLY HURON, a saxophonist, formed CONJUNTO LOS PRIMOS (“The Cousins”), at the time one of only a handful of conjuntos in the Midwest. Solis became a favorite in Detroit based on a vast repertoire of songs he compiled by following the latest hits coming up from Texas. Their musical style was more complex than the conjunto label suggests. The inclusion of Solis’s cousin Willy on saxophone blurs the line between working class conjunto music and the more middle class orquesta tejana, which includes more sophisticated string or horn sections. Likewise, they played a couple of polcas, the primary song form of the conjunto tradition, but also lean more toward styles like boleros and rancheras, song forms with roots in Cuba and Mexico. Solis’s vocal performance, too, showcases a fuller sound more in line with ranchera singers like Vicente Fernandez and Jorge Negrete than the thinner vocal tradition of conjunto style.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32414520115266,"sku":"","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5f0f1a3620880_main.jpg?v=1598646564"},{"product_id":"brother-theotis-taylor-s-t","title":"Brother Theotis Taylor - s\/t","description":"\u003cspan\u003eBrother Theotis Taylor is a 92-year-old spiritual singer and piano player known throughout South Georgia and beyond for his powerful voice and heavenly falsetto. His music took him from his home in Fitzgerald, Georgia, to the stage with Sam Cooke and the Soul Stirrers, to Harlem’s Apollo, and even to Carnegie Hall. Though his releases are limited to six stunning and rare singles on the Pitch label and a single small-press LP, his recorded archive is vast. For much of his life, Brother Taylor kept a reel-to-reel recorder atop his piano at home. “The music just comes down on you,” Brother Taylor told us late last year. “You always have your machine where you can catch everything. ‘Cause what you can catch today you can’t remember tomorrow.” Brother Taylor recorded himself on his DIY home setup only when he was inspired by a higher power, often fasting and praying for days before recording. These intimate home recordings were digitized in 2020 and are being heard for the first time with this release. Revisiting these old songs brought Brother Taylor to tears. “[When I hear this music] I pick up the same spirit that I did it in. And you see me cryin’. It made me feel good ‘cause I know I did it and I did it well. And I want to see it get out, because if it made me feel good, it make somebody else feel good. Right? This is spiritual music.” Download comes with three bonus tracks and 8-page large format liners with oral history interview and archival photos. Housed in gold foil emobssed jackets.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32414527094850,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5eed030bd6234_main.jpg?v=1598646940"},{"product_id":"a-kostis-the-jails-a-fine-school","title":"A. Kostis - The Jail's A Fine School","description":"\u003cspan data-mce-fragment=\"1\"\u003eFirst ever vinyl collection of the legendary \"Kostis,\" the most enigmatic of all Greek rebetika artists of the early 1930s. Truly unique guitar duets and black-humor prose chronicling the hash dens, prison culture and pickpockets of old Athens. Virtuosic fingerpicking of Near-Eastern modes at the dawn of rebetika, when the bouzouki was yet to become supreme. Recorded under a pseudonym for export to the Greeks living in America, it stands as an enduring mystery and the high standard for a once subversive art form. Includes Greek and English lyrics, extensive liner notes by TONY KLEIN and many previously unpublished photographs. Co-released by Olvido Records.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32440018993218,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/560d81c60d007_main.jpg?v=1599585360"},{"product_id":"v-a-afro-peruvian-classics-the-soul-of-black-peru","title":"V\/A - Afro-Peruvian Classics: The Soul of Black Peru","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis is secret music — a collection of beautiful songs and infectious grooves that’s been hidden for years in the coastal towns and barrios of Peru. It’s not the guys with flutes and drums in woolly hats — it’s music of the black Peruvian communities. Black Peruvians? Yes, Peru was involved in the slave trade too — and this wonderful, funky music is part of that legacy. This music survived (barely) within the black communities, and was not accepted outside of those communities until the spark of black pride, ignited in the 1960s, caught fire in the ’70s and ’80s. Now, in the ’90s, this music is the pride of Peru — cassettes of it are sold on the street alongside techno, Megadeth and Andean folk groups. And while it maintains its funky roots, it has attracted the creative talents of the best contemporary musicians, writers and poets who have furthered the evolution, growth and spread of this music. It’s not a secret anymore — and it’s yours to dance to.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"This is secret music — a collection of beautiful songs and infectious grooves that’s been hidden for years in the coastal towns and barrios of Peru. It’s not the guys with flutes and drums in woolly hats — it’s music of the black Peruvian communities. Black Peruvians? Yes, Peru was involved in the slave trade too — and this wonderful, funky music is part of that legacy.\" – David Byrne\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451242950722,"sku":"LP-LBOP-0018","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-LBOP-0018.jpg?v=1600195707"},{"product_id":"v-a-rough-guide-to-urban-mali","title":"V\/A - Rough Guide To Urban Mali","description":"\u003cspan data-mce-fragment=\"1\"\u003eMusic has long been central to Mali's identity, and this Rough Guide provides a unique snapshot of today’s burgeoning urban scene, from classic rap and hip-hop to RnB, afro trap and electronic music.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32451253076034,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-RGNET-1398LE.jpg?v=1600195864"},{"product_id":"laraaji-moon-piano","title":"Laraaji - Moon Piano","description":"\u003cspan data-mce-fragment=\"1\"\u003eA companion volume to the Sun Piano album, this LP was recorded at the same session in a Brooklyn Church. Whereas the former record lent itself to the more uplifting side of Laraaji’s keyboard improvisations, Moon Piano explores the more introspective and minimal pieces captured by Jeff Zeigler (Kurt Vile, The War On Drugs, Mary Lattimore) and edited by Christian Havins (Dallas Acid). Laraaji describes this set of tracks as “Contemplative sound painting, embracing quiet tranquil unfolding of nurturing reflection”. Sun Piano has been widely praised as a new phase in the new age icon’s career, picked as The Guardian’s contemporary album of the month, subject of a major feature in The Washington Post, and the artist’s special home-recorded lockdown sessions - broadcast by BBC 6 Music, Resident Advisor and Boiler Room. Moon Piano is the second release in a trilogy which will culminate in an extended EP of piano\/autoharp duets.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32495128608834,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-WAST-059.jpg?v=1602176066"},{"product_id":"v-a-how-the-river-ganges-flows","title":"V\/A - How The River Ganges Flows","description":"\u003cspan data-mce-fragment=\"1\"\u003eHow The River Ganges Flows is a transcendent collection of Carnatic violin performances captured on 78 rpm disc between 1933 and 1952. Most of these sublime recordings have not been heard since they were first etched in shellac decades ago. These melodies are ethereal and transporting: meditative. The rhythms undulate from despair to ecstasy, often within the same phrase. Remastered from the collection of Christopher King along with a set of deep notes, this music is unlike anything you’ve ever experienced. Features artwork by R. CRUMB.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32495276785730,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5f57e857e9b22_main.jpg?v=1602181302"},{"product_id":"mike-hanapi-with-kalamas-quartet","title":"Mike Hanapi - With Kalama's Quartet","description":"\u003cspan data-mce-fragment=\"1\"\u003eMike Hanapi was a brilliant steel guitarist and vocalist from Honolulu, whose recordings with Kalama’s Quartet and the Ilima Islanders remain among the highest peaks of 20th century Hawaiian music. Hanapi’s gorgeous falsetto voice is backed by lush harmony vocals, like a lonesome yodel floating above an oceanside choir. The purely acoustic instrumentation of lap steel guitars, ukeleles and harp-guitars weaves gently in and out of the vocal melodies, creating\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efluid and harmonious layers and achingly beautiful blue notes. While past reissues of Hawaiian music from this era have focused on “hot” and up-tempo material, this compilation is entirely dedicated to the peaceful, deeply emotional and lilting style in which Mike Hanapi and Kalama’s Quartet excelled. Most of these songs have never been reissued on any format, and have been remastered from original 78 rpm discs by Tim Stollenwerk, with beautiful clarity and presence. Truly peaceful, tranquil and unique music. 12” black vinyl LP with reverse-board jacket, and 8-page full sized booklet with biographical notes, rare and previously unpublished photographs, and full lyrics in Hawaiian and English.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32511469322306,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5f527a3d1fe3f_main.jpg?v=1603224943"},{"product_id":"adrianne-lenker-songs-and-instrumentals","title":"Adrianne Lenker - songs and instrumentals","description":"\u003cspan data-mce-fragment=\"1\"\u003eBig Thief’s singer\/guitarist\/songwriter returns with an album of songs and an album of instrumentals.\u003c\/span\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32511576637506,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-4AD-0302.jpg?v=1603227639"},{"product_id":"jeremiah-sand-life-it-down-purple-vinyl","title":"Jeremiah Sand - Life It Down ( Purple Vinyl )","description":"\u003cp data-mce-fragment=\"1\"\u003eIn 1974,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJeremiah Sand\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand his nascent cult\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Children Of The New Dawn\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003edecamp LA for the Shasta Mountain region and Redding, CA.  They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment.  Jeremiah and the Children are not necessarily an odd addition to Redding in 1974.  Since the 1930s, psychonauts and spiritual seekers have been drawn to this area in Northern California under the shadow of the dormant volcanic cone of Shasta. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy 1974, urban California hippies worn down by direct political engagement with state security forces have started drifting North and the towns along the border with Oregon state are filled with ad-hoc spiritual organizations, commune builders and lost souls.  Jeremiah and the Children fit right in.  A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics.  This early album is one of the only existing documents of Sand.  The commercial failure of the album became the catalyst for Sand to leave Southern California and settle in a place where his \"truth\" would be \"received by pure and open hearts\". \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy mid 1974, the Children have grown in rank and Jeremiah becomes obsessed with recording \"his masterpiece\"...a musical message to the world, communicating a “Truth” that only he has been given spiritual access to.  This project becomes the central focus of the Children.  His lieutenant Brother Swann overhears that there is a small recording studio just North of the city.  He arrives one day at the reception with a large gym bag full of cash and instructs the owner to cancel all sessions on the books.  The studio will now focus on one thing and one thing only: helping Jeremiah realize his vision. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTents and rough structures appear on the surrounding property as the Children make the studio and its grounds their new home.  They hold recruitment meetings where Jeremiah evangelizes in between endless recording sessions.  The owner and his staff begin to feel as though they're being held hostage but the money is good and the Children keep paying.  Overpaying.  This goes on for years.  New members drift into the sessions.  A disgraced professor from the Electro Acoustic Music program at Evergreen state arrives with a full Buchla system he's \"liberated\" from the university, Jeremiah is entranced by it and for a few weeks the only sounds coming from the studio are blasts of atonal, corroded noise underpinned by ominous chanting.  The mood changes.  The town begins to turn against the Children.  A few people have gone missing.  Some teenagers.  A studio engineer.  By the Spring of 1977, the entire session has broken down into hallucinogen and cocaine fueled chaos.  Bad vibrations. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOne night in early March, after a particularly grueling mixing session, the producer and owner of the studio is startled awake by an extremely agitated looking Brother Swann.  Swann is sweating and wild eyed, casually holding a gun, explaining to the producer that \"plans have changed\" and that Jeremiah has \"heard a calling and a Great Summons\".  They are leaving.  All of them.  That night.  Swann directs the producer to put the existing reels in a lock box along with a short 16mm film, lyrics, album art and scribbled notes.  Swann tells the producer Jeremiah will be back to finish his masterpiece.  It all goes in the box and it's not to be opened until the Children return.  They never do. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 2018, wildfires rip through Redding, CA and burns it to the ground.  Over a thousand of homes are incinerated.  One rough structure north of the city is partially saved.  There's a massive concrete basement filled with smoke and water damaged recording equipment and in the back...a lockbox.   \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNo one knows who originally took the tapes out of the charred ruin of the studio but in a few months, a very strange album is making the rounds in the more esoteric circles of the underground. A long and confusing chain of custody ensues.  A lost artifact of the transitional period between the late 60s and late 70s.  A flawed and malignant sounding unfinished thing, clearly the product of a psychotically inflated ego and hubris.  The album is by turns: amateurish, haunting, deranged, ridiculous and (for those attuned to these things) filled with crackling negative psychic energies.  So much so that Light In The Attic flat out refuses to reissue it.  Eventually, it lands in our lap and we decide to restore the audio and give it a general release all in the name of preserving a historical document of a very weird place and a very weird time.\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":37366935191721,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/sbr239-jeremiahsand-1800_2_1024x1024_b358677b-c673-4015-8855-6d3d6205a57c.jpg?v=1604430430"},{"product_id":"ravi-shankar-chants-of-india-1","title":"Ravi Shankar - Chants of India","description":"Dark Horse Records and BMG are celebrating this year's milestone Ravi Shankar centennial with the first ever vinyl release of his renowned 1997 album, CHANTS OF INDIA. Produced by Shankar's longtime friend and collaborator, Dark Horse founder George Harrison, the acclaimed collection will be available on 2x12\" LP 180-gram red vinyl, housed in a gatefold sleeve with an exclusive 12\"x12\" photo print. Limited to 3,000 in North America, CHANTS OF INDIA arrives Saturday, April 18 as a Record Store Day exclusive release. Recorded in the south Indian city of Chennai - then known as Madras - as well as Friar Park, Harrison's home in Henley-on-Thames, Oxfordshire, CHANTS OF INDIA marked a landmark departure for Shankar. Though of course known around the world for his extraordinary work in Hindustani classical music, the album sees Shankar creating a collection of traditional Vedic and other Hindu sacred prayers set to music, offering his hope for peace and harmony among nature and all creatures. The renowned sitar master is joined by a number of leading Indian musicians, performing on such traditional instruments such as tabla, santoor, veena, bansuri flute, tanpura, and mridangam, as well as violin, cello, and harp, with his daughter, Anoushka Shankar, conducting and Harrison contributing at Shankar's personal request on acoustic guitar, autoharp, bass, vibraphone, marimba, glockenspiel, and backing vocals. Released on CD in 1997, CHANTS OF INDIA proved both a popular and critical success, reaching #3 on Billboard's \"Top World Music Albums\" amidst wide-ranging international applause. Entertainment Weekly's Josef Woodard awarded the album an \"A-,\" hailing it as an \"enchanting set of Indian music based on prayers and chants...Unlike Shankar's classical raga recordings, CHANTS OF INDIA is a set of short, colorfully arranged pieces, enjoyable for neophytes and devotees alike. Another jewel from a humble world-music superstar.\" CHANTS OF INDIA \"utilizes Western instruments, classical this time, creating a sound that's akin to 'Within You, Without You' on SGT. PEPPER,\" wrote Goldmine's Gillian Gaar. \"Because of the nature of the material - prayers to God - the emphasis is on the vocals, not the instrumentation, which makes this album especially soothing and relaxing.\" Indeed, NPR Classical has named CHANTS OF INDIA as one of \"5 Essential Ravi Shankar Recordings,\" writing, \"This is a very different kind of Ravi Shankar project, produced by George Harrison in 1997. Shankar took Hindu prayers, mantras and scriptural texts and framed them within larger musical settings, incorporating both Indian and European instruments along with voices. 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The agreement will see an array of releases from the legendary Dark Horse label's acclaimed catalog, as well as from George Harrison's Indian label imprint, HariSongs, and the Joe Strummer solo catalog, including his work with The Mescaleros.","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":37505718943913,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-900102-1477479543-5662_jpeg.jpg?v=1605038386"},{"product_id":"v-a-american-epic-the-best-of-country","title":"V\/A - American Epic : The Best of Country","description":"\u003cp data-mce-fragment=\"1\"\u003eCountry music, folk music, bluegrass, or Americana – all come out of these early rural recordings by a quirky, varied, and instrumentally virtuosic range of musicians. 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An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePacific Breeze\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMany of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEven a Tree Can Shed Tears: Japanese Folk \u0026amp; Rock 1969-1973\u003c\/em\u003e, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. 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