Grannie
Grannie

Some little scratches but an essential highlife record...

Without pausing for breath and hot on the heels of their stunning debut '5', the exclusive Sault return with their second full length album '7'. Back with their signature hybrid of funk, dance, post-punk, soul and disco is front and centre once again!

Interresting Franch Lp released on "Le Chant du Monde " in 1977. Focus on popular lyrics with light and jazzy arrangement, this album is well pressed. This is the kind of records taht are so happy to discover because this music is original.

Beat the Devil's Tattoo is Black Rebel Motorcycle Club's fifth studio album. This release signifies the band's first full-length on their own Abstract Dragon label, in partnership with Vagrant records and co-op music group. The band wrote and recorded the majority of the album at the basement studio in Philadelphia, PA - the same room where they wrote and recorded Howl, the rest was done in their hometown Los Angeles. Beat the Devil's Tattoo also marks the first album with drummer Leah Shapiro. The album is a mixed up hot-pot of all the band's previous work - an americanised blend of blues-inspired garage and folk-driven rock 'n' roll.

Gadzooks Vol. 1 est différent de tout ce que vous avez entendu auparavant - les comparaisons vont du chef-d'œuvre fracturé Oar de Skip Spence, au troubadour Robyn Hitchcock, en passant par les humeurs noires de John Lennon sur The White Album et le surréalisme caustique de Frank Zappa. Enregistrant sur bande, Caleb a piraté chaque prise pour réassembler les chansons comme des diagrammes d'Escher. Faisant partie d'un flot de créativité - comme son titre l'indique, une seconde moitié de cet album est déjà à l'horizon - Gadzooks Vol. 1 est passionnant, choquant et merveilleusement divertissant. Chaque chanson commence et se termine dans des lieux tout à fait uniques, souvent totalement séparés les uns des autres.

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.