Tlahoun Gessesse
Ethiopian Urban Modern Music Vol. 4
Early ’70s Ethiopian soul by “The Voice” Tlahoun Gessesse. Super powerful, super funkful super fly music with a backing band that James Brown would have killed for. Released as part of the Ethiopiques series by Buda Musique (& on LP by L’Arome Productions) for what promises to be another rich mine of unearthed gems.
From the Press Release:
Industrial Records Ltd. are pleased to announce the birth of GRISTLEISM, the newest member of the Throbbing Gristle family. Bastard offspring of now-famous ambient loop player the Buddha Machine, GRISTLEISM is part industrial sound machine, part noise instrument. Featuring 13 original and uncompromising loops, GRISTLEISM delivers a mix of signature TG experimental noise, industrial drone, and classic melodies and rhythms. Available in three colors — black, chrome and red — the palm-sized unit (size: w67mm x h69mm x d35mm) features a built-in speaker, volume control, pitch-shift control and loop selector switch. Note: GRISTLEISM does not feature an audio output socket or a DC power input socket. GRISTLEISM features more loops and almost twice the frequency range of the Buddha Machine. GRISTLEISM is powered by two AA batteries and is the world’s first and only portable TG aural exciter! GRISTLEISM was born from a collaboration between Industrial Records, Throbbing Gristle and Christiaan Virant (the creator of the original FM3 Buddha Machines) and is packaged in an exquisite “Chinese paper-cut” wrapping, featuring a repeating TG logo pattern, foil embossing and UV ink.
Track listing:
01 – Persuasion
02 – Hamburger Lady
03 – Twenty Jazz Funk Greats
04 – Thank You Brian
05 – Maggot Death
06 – Rabbit Snare
07 – Lyre Liar
08 – Wimpy bar
09 – Sex String Theory
10 – Heathen Earth
11 – Industrial Intro
12 – R & D
13 – After After Cease To Exist
Pre-order from Forced Exposure for $28.00.
Best Journalism -StereoMojo
“This year the affects of the financial tsunami were certainly felt as some companies eschewed appearing this years as they had in years past, but there were other new companies that had never been at the show before.”
“Stalwart Brinkman exhibited a new turntable dubbed the Bardo. The first name association that came to mind was “Guy Lom”Bardo”, but I don’t think that’s what they intended.”
“People who take their time and money to attend this show don’t want to hear mid-fi, we think.”
“A weak dollar makes foreign goods more expensive for Americans. So that means for right now, American made goods are a bit cheaper. Many economists believe that high, maybe VERY high, inflation is right around the corner, too, which will inflate prices. Just a thought.”
“Larry explained that he wanted to do a table that incorporates all the ideas he had without real regard for cost, just to see what could be done. He does not plan on making many more of this one, but wants to make it quieter and less expensive, paying a little more attention to cost savings.”
“Googling Musical Life Turntables produced scant little.”
“Everything Grant sells includes shipping – that can be very big.”
“The model name is the “ana-log”. See the log? Get it?”
Best Photo – PFO
Best Photo Runner-Up - Stereophile
Nudge
as good as gone
Is it a problem if a record is so easy to like? I wondered that about this so I waited ’till I heard it a bunch of times in a bunch of moods and dammit! I still like it!
Dreamy songs rife with guitars, synth, percussion and other machines all with a lite smattering of haze making for a gentle rocking album like being in a row boat in the middle of a lake at night with music coming from every shore carried along and mixed on the gentle breeze of an approaching storm before it caresses your ears as you fall asleep.
Honey Owens (ohh ahh, vocals, guitar, bass, percussion), Brian Foote (vocals, guitar, bass, synth, harmonica, percussion, programming), Paul Dickow (synth, guitar, bass, percussion), Mat Morgan (percussion), Jon Pyle (guitar, percussion) and Marc Hellner (guitar).
Recorded over 5 days in August 1933 in NYC, Joe Robichaux & His New Orleans Rhythm Boys is thought to be one of the only New Orleans-based jazz bands to make more than a handful of recordings during the Great Depression. A double LPs-worth of tracks featuring Joe Robichaux on piano, Christina Gray and Joe Lawrence on vocals and the Rhythm Boys – Eugene Ware trumpet, Alfred Guichard clarinet, alto sax, violin, Gene Porter tenor sax (Miles was a fan), Rene Hall banjo (later an arranger for Motown including on Marvin Gaye’s “Let’s Get it On”), Walter Williams tenor guitar, and Ward Crosby on drums. This Complete set also adds Chick Bullock on vocals (originally released as Chick Bullock and His Levee Loungers and a bit of cheese I could live without) and a few tracks with Robichaux playing piano with Albert Ammons and His Rhythm Kings.
I have a huge soft spot for this music and am continually amazed at its swinging levity considering the misery that surrounded it. Includes classic cuts like”The Revered is My Man”, “King Kong Stomp”, “Saturday Night Fish Fry Drag”, “You Keep Me Aways Living in Sin”, “Lazy Bones” and “St. Louis Blues”. All that jazz and more and these records sound wonderful all things considered.
Betty Davis
Is It Love Or Desire
Holy crap! what a great record. The Funk House backing band is super-tight and Betty is tighter than ever with her loose-lipped dirty-mouthed snarling sexiness going from straight ahead funk to bluesly bar-room ballads to whispery soulful softness (inspired by Miles asking her “Why don’t you sing soft songs?”). Super-bad, super-hot mix mastered from the original master tapes never before seen or heard since they were recorded in 1976, this is big bad funky sexy greatness.
“Any question you got, my body can answer”
