#re-issued

[hale-my-nathan]

Trump Weird News - Karoline Leavitt Re-Issued

[thephotopitmagazine]

Metal Blade Records announce exclusive King Diamond LP Picture Disc Reissues

Metal Blade Records announce exclusive King Diamond LP Picture Disc Reissues

If you have not already picked up copies of King Diamond’s 180g picture disc LPs head over to http://www.metalblade.com/kingdiamond and pick up the available albums and pre-order the up coming releases of

The Graveyard

The Spider’s Lullabye

and

In Concert 1987: Abigail

There are currently 5 available albums, which you can pickup immediately, and the above albums will be available August 3rd.

I…

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[jannekemaris]

Re-issued

Nowadays we are looking for the craft of the past, we find out that these techniques are the base of new developments that are adapted in a new design. For this trend two designer brands are taking the lead to innovate their techniques.

The famous Eames Lounge Chair & Ottoman is a masterpiece that has stands in many museums, now it has been re-issued in the black on black edition. The unparalleled craftsmanship and the attention to detail that gone into each Eames Lounge & Ottoman for more than 50 years. Only 100 of this special edition black on black will be made, each chair receive a framed illustration noting the chairs unique edition number.

The ‘Tongue Chair’ is a classic piece by Arne Jacobsen, but somehow it got lost in the popularity of another chair designed by Jacobsen. The Tongue Chair has a characteristic organic wave-form in the tongue-shaped seat, complemented with highly sculptural, splayed legs. The Danish manufacturer HOWE maintains all of the sculptural qualities of the original model, and re-issuing the design to today’s developments.

I think that this development will be interesting for the future, innovating is better then thinking about something new. This costs time and time costs money, why doesn’t innovate the good old techniques?

Blog Herman Miller Asia

Designboom

[secretrecords-blog]

Review: The Academy

The Academy - Pop Lore According To The Academy

CD - Secret Records Limited

Sparsely but inventively instrumentated folk-songs, with slight jazzy and psychedelic overtones are to be found on Academy's sole album. The main attraction is the clear voice of Polly and the interesting woodwind parts.

Male singer Hardy is less convincing, especially so on the trite Anva. Poor Jean has pretty harmonies but is marred by some out-of key intonations. The best tracks are: Munching The Candy and Rachel's Dream, the latter starting sentimentally, but later on incorporating a lovely Russian theme.

They were also issued on a 45. Interesting.

Source: http://www.discogs.com/

[secretrecords-blog]

Screaming Target: A Happy Sunshine Sound!

Screaming Target 8.5 (1973)

Screaming Target / Pride And Joy Rock / Be Careful / Tippertone Rock / One Of These Fine Days / Screaming Target (2) / Killer / Solomon A Gunday / Honesty / I Am Alright / Lee A Low / Concrete Jungle

Manley Augustus Buchanan was born April 19, 1949. Better known as Big Youth, he started 'toasting' in 1970. By 1973, he was ready to release his first full length LP, 'Screaming Target'. Building on the innovations of 60s toasters such as U Roy, Big Youth introduced a relaxed style married to socially concious themes. He has a lazy, half-slurred style, yet a controlled, cool vibe.

The opening title track finds this ex hotel mechanic and cab-driver promoting literacy and positivity over K.C. White's 'No No No' groove. The album as a whole may seem familiar to you, using as it does many old classic familiar grooves, but Big Youth hosts this party beautifully.

The art of DJ Toasting is considered by many to be a precursor to American Hip-Hop. Big Youth with 'Screaming Target' and hit singles, was one of the first such men to translate this skill to the recording medium. As such, combined with his clever, meaningfull lyrics, has seen 'Screaming Target' and Big Youth become the 2nd most important figure (arguably) in Reggae, behind a certain Bob. Starting at the end, thick dub reggae bass lines are a feature of 'Concrete Jungle', a superbly atmospheric tune over which Big Youth spells out his views. We've two versions of the title track, both opening with neighbour displeasing screams before settling down with the fabulous 'No No No' groove which has been heavily mixed. 'Honesty' is a highlight with spooked, ghostly rhythms and Big Youth setting out his anti-slavery stall. You know, listening to this makes it clearer where The Specials and 'Ghost Town' came from.

Big Youth or no Big Youth, musically 'Screaming Target' is a superb album, best demonstrated by 'The Killer' with wonderful reggae grooves and this piano picking out a melody adding texture and atmosphere. 'Tippertong Rock' is an ode to the original sound system Big Youth used to DJ for. Bass grooves much the fore, little guitar lines here and there. A happy sunshine sound!

By Adrian Denning

Review from http://www.adriandenning.co.uk/

[secretrecords-blog]

Looking Back: A Great Review

Looking Back: The Jamaican Chart Hits of 1958 & 1959

Sunrise Records 2CD

True heads know that one cannot understand reggae music by listening to reggae alone. How can the classic rhythm Rockfort Rock be appreciated without knowing it was inspired by the Latin standard El Cumbanchero? Or Satta Amassagana without hearing its origins on Neil Hefti's score for Batman?

Hence the importance of this two part series, overseen by Record Collector scribe and Trojan reissue supervisor Laurence Cane Honeysett (with assistance from record seller Phil Etgart) which looks at the seismic shifts in Jamaican music tastes in the late 50s and early 60s commencing with the pre ska charts of '58 and '59. For while received wisdom might paint this period as a pre-enlightened time it is every bit as important as the acknowledged ska-rocksteady-reggae-dancehall progression that followed.

Randy's producer Clive Chin recalls how his 50s childhood was soundtracked by the radio playing mainly American music, but that local rhythms were also starting to be recorded and pressed onto disc. Thus, the tracks here are a mixture of mento, doo wop, Latin and R&B sides - many of which will sound familiar to reggae collectors with keen ears.

There's Philadelphian pianist Bill Doggett's instrumental Honky Tonk part 1 credited by the great Studio 1 keysman Richard Ace as inspiring the early "shuffle ska". The Trinidadian-led Cyril X Diaz Orchestra's cover of the Cuban rarity Tabu, would be absorbed into the melody of the Gaylads' 1967 Studio 1 side Africa We Want To Go. The "Whap Whap" refrain from Lee Andrews and the Hearts' It's Me would end up in Burning Spear's 1975 roots chant Travelling. Then there's the Rays' Silhouettes, a beautifully harmonized tale of mistaken identity and misplaced jealousy sung by Dennis Brown in 1972 for Derrick Harriott. Meanwhile, Little Willie John's original cut of Fever would be recut by Horace Andy and Junior Byles, whereas You Send Me was the first secular hit by Sam Cooke, who inspired singers from Slim Smith in the 60s to Lloyd Brown today.

Marriage appears to have been a popular lyrical theme as evidenced by Lord Tanamo's US-styled Sweet Dreaming, Gene and Eunice's The Vow, Milson Luce's Don't Break Your Promise, and Mighty Sparrow's long-suffering calypso Dear Sparrow. And there are two versions of the much covered ode Island In The Sun, one by the US singer and activist Harry Belafonte and a more Jamaican-flavoured take by Count Owen.

Number crunchers may be miffed at the lack of any actual chart positions in the otherwise highly informative sleevenotes. But that aside, this is an essential purchase for all musical historians - as is the followup 'Easy Snapping', which collects the hits of 1960 when local artists began to dominate the airwaves and the dances began to change...

By Angus Taylor

Review from http://www.unitedreggae.com/

[secretrecords-blog]

Keith Hudson a True Artefact

Keith Hudson

Entering The Dragon

180g LP Sunspot Records

From the label that recently re-issued Presenting I Roy and Big Youth’s Screaming Target in their original vinyl format comes this rare early Keith Hudson effort.

Features the wild blaxploitation rave up title track version of Rockfort Rock, a great early drum & bass cut to Riot a selection of Keith’s unique vocals and their matching early Tubby’s dubs and a killer dub cut to the Melody Maker / Don’t Think About Me riddim.

The cover is a reggae design classic too. A true artefact from the roots.

Review from http://www.dubvendor.co.uk/

[secretrecords-blog]

Idiosyncratic Keith Hudson

Keith Hudson

Entering The Dragon 180g LP

"After shaking up the U.K. sound systems with a stream of hit productions, Keith Hudson inked a deal with the British Magnet label in 1974. One can only imagine the company's reaction when they were handed Entering the Dragon; truthfully, it's tough to imagine how modern audiences will respond to this set. The album title is a tribute to Bruce Lee, and the title track is a seething version of "Rockfort Rock," intensely delivered by the Soul Syndicate Band.

The DJ, the otherwise unknown R. Bagga, who sounds suspiciously like Hudson himself imitating Lee Perry, spatters his toast with kung-fu references and occasional expletives. That was shocking enough, but at least listeners could get their heads around it. What followed was so removed from the reality of the contemporary reggae scene that it defied belief: the sparseness of the backings in a time of lushness; the double-tracked vocals (beating Perry to the punch by several years); and Hudson himself, who could barely carry a tune but packed his songs with emotion. This was reggae from another galaxy entirely.

The songs are all relationship-oriented, and idiosyncratic to put it mildly, but for all the weirdness, it's obvious that Hudson was exploring, in his own peculiar fashion, reggae's R&B roots - check out his cover of Maxine Brown's "Oh No, Not My Baby" for proof.

Without the hits, Dragon makes it easy to dismiss Hudson as an eccentric, self-indulgent loon, especially if this set is divorced from the rest of his catalog. Taken as a whole, though, one can follow his trajectory through R&B, soul, funk, and the blues, twisting insistent reggae riddims to his will, while simultaneously churning out more commercial reggae that ate up the charts. A ferocious talent at work."

Review from http://www.selectionrecords.com/