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Archive From 1959: The Billy Childish StoryImport
Billy Childish has been releasing records, painting, writing poetry and generally doing his own thing for the past 32 years. He first took to the stage back in October of 1977 with the seminal punk garage band The Pop Rivets. They split after two years and from there he joined The Milkshakes along with fellow Pop Riveter Bruce Brand and local lads Micky Hampshire and Russ Wilkins. After that came Thee Mighty Caesars, Thee Headcoats, The Buff Medways and right up to date with his two current ensembles The Musicians Of The British Empire and The Chatham Singers.
The 51 track compilation Archive From 1959: The Billy Childish Story takes a look back at the more rock 'n' roll aspects of Billy's musical career which is why there's no spoken word or poetry and many of its tracks have been unavailable for ages. In amongst these more well known bands are tracks he recorded solo and with other artists like The Delmonas, Thee Headcoatees, Singing Loins and Kyra Rubella.
Over the years Billy has been championed by lots of great bands and musicians including Beck, Mudhoney and Kurt Cobain and more recently by Eddie Vedder and The White Stripes. Even with that praise Billy has been largely ignored by the music press in this country which is really surprising as he has now released over 120 albums.1. The Buff Medways - Archive From 1959
2. Wild Billy Childish And The Musicians Of The British Empire - Thatcher's Children
3. The Milkshakes - I'm Out Of Control
4. Thee Headcoats - Punk Rock Is Nicht Tot
5. The Chatham Singers - Evil Thing
6. Wild Billy Childish And The Musicians Of The British Empire - He's Making A Tape
7. Thee Headcoats - Pocahontas Was Her Name
8. The Pop Rivets - Kray Twins (Demo)
9. Thee Mighty Caesers - You Make Me Die
10. The Buff Medways - Troubled Mind
11. Thee Headcoats - Davy Crockett
12. The Milkshakes - Love Can Lose
13. Jack Ketch And The Crowmen - Somebody Else
14. Thee Headcoats - The Day I Beat My Father Up
15. Kyra - This Wondrous Day
16. The Buff Medways - Medway Wheelers
17. The Buff Medways - I'm Glad I'm Not Like David Wise
18. Thee Headcaotees - When You Stop Loving Me
19. Wild Billy Childish And The Musicians Of The British Empire - Christmas 1979
20. Thee Headcaotees - Hurt Me
21. Thee Mighty Caesers - Loathsome 'n' Wild
22. The Chatham Singers - An Image Of You
23. Thee Headcoats - She's In Disguise
24. Billy Childish And The Singing Loins - I Don't Like The Man I Am
25. The Chatham Singers - The Man With The Gallows Eyes
26. Wild Billy Childish And The Musicians Of The British Empire - Snack Crack
27. Thee Mighty Caesers - Cowboys Are Square
28. Thee Headcoats - I'm Hurtin'
29. The Delmonas - I Feel Like Giving In
30. Billy Childish - Ballad Of Hollis Brown
31. Thee Headcoats - Every Little Thing
32. Thee Headcoats - Headcoat Lane
33. The Buff Medways - Sally Sensation
34. Thee Headcoats - (We Hate The Fuckin') NME
35. Thee Mighty Caesers - Lie Detector
36. Thee Headcoats - What's Wrong With Me
37. The Buff Medways - Strood Lights
38. Billy Childish - Get Out Of Here Pretty Girl
39. Thee Headcoats - It Ain't Mine
40. The Milkshakes - For She
41. Billy Childish - The Bitter Cup
42. Thee Headcoats - Girl From '62
43. The Pop Rivets - Fun In The UK
44. Wild Billy Childish And The Musicians Of The British Empire - Birthday Boy
45. Thee Headcoats - Fingers In The Sun
46. Jack Ketch And The Crowmen - Mass Ignorance Culture
47. Thee Headcoats - We'er Gone
48. Kyra - Today Is The Night
49. Thee Headcoats - Rusty Hook
50. Thee Mighty Caesers - I Was Lead To Believe
51. Wild Billy Childish And The Musicians Of The British Empire - Joe Strummers Grave$38.99Vinyl LP - 3 LPs Sealed Buy Now
Ortofon MC Quintet Mono Cartridge
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
MC Quintet Mono is a true mono cartridge for playing mono microgroove vinyl records
The Quintet Mono is a new true Mono from Ortofon.
It features Nude Elliptical r/R 8/18µm stylus that is a good solution for playing mono microgroove vinyl records. The Quintet Mono will track perfectly through even worn and damaged records and ensure the surface noise control.
Quintet Mono uses a strapped output to deliver the same output signal from both sets of pole pins. This effectively eliminates the need for mono-specific equipment, making it possible to enjoy true mono reproduction on any stereo playback system.
Quintet Mono is the best cartridge in the Quintet series to play monophonic records.$524.00Cartridge Buy Now
Pro-Ject VC-S Record Cleaning Machine
Have a question about this product? Please email our href=mailto:email@example.com>audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Extremely capable wet cleaning machine that removes dirt and dust from your valuable records
VC-S is a radical new development. There are features which are new for record cleaning machines in this price range:
$499.00Pro-Ject Record Cleaning Machine Buy Now
- It is super powerful and cleans a record in 1 max 2 rotations (best is 1 turn forward, 1 turn backward)
- It turns the record superfast within 2 seconds per rotation, which is about 3 times faster than usual cleaning machines do. The result is a much faster cleaning of records as well as much cleaner and 100% dry records with NO residual humidity!
- A new type of clamp seales the record label from cleaning fluid and avoids damage on the label!!
- Robust metal arm, which is easy to use, mechanically stable fixing! (no springs)
- Big container (2.5 l) for used fluid, that shows fill-up capacity and guarantees no spillage of used cleaning fluid. Discharging of used fluid is extremely easy to do.
- Newly developed vinyl cleaning concentrate Wash it offers very good cleaning results and reduces static charge, so record wear as well as stylus wear is significantly reduced.
- It is super powerful and cleans a record in 1 max 2 rotations (best is 1 turn forward, 1 turn backward)
iFi Audio iPower DC Power Supply
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
The central characteristic of iFi is in pursuit of the zenith in audio performance: it leaves no stone unturned. Well, the all new iPOWER is an exemplary example of this. Despite the fact that the iFi Ultra-Low Noise AC/DC adapter was exceptionally quiet and elevated the iUSB and iPhono to punch way beyond their respective categories, the all new iPower is even quieter, up to 10x quieter in fact.
What is it? Brand new audiophile-standard DC-power supply: In 5V, 9V, 12V and even 15V versions.
Which products is it aimed at? Virtually any DC powered device. Just check the correct voltage (5V/9V/12V/15V). Check the correct polarity setup. Ensure the current output is sufficient, then plug in and enjoy.
Three years ago, iFi's Ultra-Low Noise AC/DC power adapter set the way and underpinned the whole iFi range from the iUSB to the iPhono leading to their loyal following.
Well, not to rest on its laurels, iFi now has a completely new 'ground-up' DC powered supply.
Drawing from the military field (specifically the Thales Spectra radar cancellation system deployed in the French Dassault Rafale jet fighter), iFi adapted this technology to exclusively introduce the Active Noise Cancellation+ ® (ANC+®) audio power system. It is so good ANC technology is now a cornerstone of the ever-improving iFi USB audio technology range.
By generating a signal identical to the noise signal but in the exact opposite phase, it actively cancels all the incoming noise. ANC+® is the perfect 'antidote' for power supply noise, the bane of USB audio.
With ANC+® the power line is filtered for audio band and RF noise. The measured noise floor of 1uV (0.000001V) is at the measurement limit of what even the most sophisticated Audio Precision equipment is capable of.
Measured on the Audio Precision 2, the iPower has an astonishingly low audio band noise floor of just 1uV! To put this into context, iFi's very own Ultra-Low Noise AC/DC adapter was in a class of its own at 10uV. Compared to a typical audiophile Linear Power Supply which measured at 20uV, it is demonstrably clear AMR/iFi power supply technology is unparalleled.
Shaping the face of technology, AMR/iFi not only pushes the boundaries of audio design, but power design too. After all, electricity is the 'fuel' behind the audio signal.
There are two separate, but similar 'Array Technologies' in the iPOWER:
- 12-Element Output Array - is for addressing noise on the output (at the DC barrel) end.
- 6-Element Input Array - is for dealing with noise at the input (at the 2-pin mains) end.
What this means is that any noise is contained and neutralized with the iPOWER to halt it from contaminating the local mains or audio system. iFi is one of a handful of companies that manufacture 'battery quiet' DC power supplies. Just like hybrid technology in cars, both have come a long way in a short space of time and are gaining wider acceptance.
At iFi, we like to think comprehensively and while the majority of home and pro audio products have a 'centre positive' DC power connector type, if your product such as a guitar pedal or a Sony Discman has a 'centre negative' instead of 'centre positive' pin, it is important to use the iFi power inverter. If you are unsure of the DC polarity of your product, please check with your vendor. For equipment using a DC power connection, it is common practice to include protection circuitry against over-voltage/reverse polarity, but not every manufacturer will have applied this. Always check first as AMR/iFi is not responsible for incorrect use or damage arising from use of the iPower.
AMR/iFi understands and appreciates that today, being portable and user-friendly is paramount. So the iPower is light, convenient and above all, easy to travel with and work in any country in the world. It comes in 5V, 9V ,12V and 15V versions for all manners of DC powered devices and a set of interchangeable pins to span the globe: for USA/UK/EU/AUS electrical outlets. Performance and portability personified.
In summary, all the technology behind the iPower would count for little if it was not audible. Well, it is both. With the all-new iPower, the noise floor is virtually inaudible and the all-important level of refinement (whether listening to an analogue or digital source) has been amplified several notches.
Best of all, all existing iFi-powered devices all benefit, and in the different DC-power versions, the iPower now compliments non-iFi DC-powered products too. So all can enjoy the "sound of iFi."
The USB power line runs on 5v and the Raspberry Pi/Cubox/BeagleBone (or similar Microcomputer) is rapidly becoming the most popular computer server option. So, each iPOWER (5v version ONLY) ships with the DC > micro USB cable so that the iPOWER (5v) can supply pure, clean power to the microcomputer for the optimal computer audio playback.$49.00DC Power Supply - 4 Versions Available Buy Now
- 12-Element Output Array - is for addressing noise on the output (at the DC barrel) end.
Future CrayonBroadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.
Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.
- Heather Phares (All Music)LP1
2. Still Feels Like Tears
3. Small Song IV
4. Where Youth and Laughter Go
5. One Hour Empire
6. Distant Call
7. Poem of a Dead Song
8. Hammer Without a Master
10. Chord Simple
1. Dave's Dream
3. Test Area
4. Unchanging Window / Chord Simple
5. A Man for Atlantis
6. Minus Two
7. Violent Playground
8. Belly Dance$24.99Vinyl LP - 2 LPs Sealed Buy Now
Newport Uproar (Pure Pleasure)
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.
There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.
All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.
- Lionel Hampton (vibraphone, piano, drums)
- Illinois Jacquet (tenor saxophone)
- Snooky Young, Wallace Davenport (trumpet)
- Al Grey, Benny Powell (trombone)
- Jerome Richardson, George Dorsey, Ed Pazant (reeds)
- John Spruill, Milt Buckne (piano)
- Billy Mackel (guitar)
- George Duvivier (bass)
- Steve Little (drums)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Turn Me Loose
2. Thai Silk
3. Tempo's Birthday
4. Greasy Greens
5. Greasy Greens (Encore)
6. Meety Benny Baily
Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
8. Misunderstood Blues
9. Flying Home$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Burning WitchThis beast has been in the works for over 3 years and now the wait is finally over! Although Burning Witch only actually existed for a short period of time (19951998) the absolutely crushing impact they left is immense! This box compiles every authorized recording the band ever made on a 4LP set with a 40 page book and a bonus DVD of live Burning Witch performances thrown in for good measure.
Towers was recorded by Steve Albini during the vernal equinox in 1996 at Robert Lang Studios, Seattle. Originally released as a demo tape in 1996 then released by Slap-A-Ham on vinyl in 1998. Southern Lord released a CD version (including Rift.Canyon.Dreams) in 1998. Remastered from the original 1/2 master tape (lost until this version) by Mell Dettmer.
Rift.Canyon.Dreams was recorded by Aaron Evil during the autumnal equinox in 1997 at Robert Lang Studios, Seattle. Originally released by Merciless Records on LP in 1998. Not only is this LP super rare, the covers were very flimsy so most existing copies have a lot of cover damage! Southern Lord released a CD version (including Towers) in 1998.
Bleeder b/w Rift.Canyon.Dreams. Bleeder was an unreleased track from the Towers Albini session. It originally came out on the split CD with Goatsnake on Hydra Head in 2000, now out of print. This song has never been released on vinyl (although test pressings for the Goatsnake split were made, finished vinyl was never produced). The Rift.Canyon.Dreams track was an unfinished outtake from the Rift.Canyon.Dreams session. It was mixed/completed by Dahlquist & Randall Dunn circa 2003 and then released on a split with ASVA (BW bassists Stuart Dahlquists then new project). The track was remixed by OMalley and Dunn in 2007 and released on the Crippled Lucifer 2CD reissue via SLR and is the version presented here.
Live at the China Club 1996. Raw, grim live evocation is the only Witch recording ever released with original 2nd guitarist Greg Anderson. This incantation was captured in Ballard, WA at the China Club (previously known as the Red Dragon) in 1996. The Witch was opening for At The Gates and Napalm Death. Anderson played 2 shows with Burning Witch, this being the second (and last!) This is the first time this is available on vinyl.
All LPs are pressed on 180g virgin black vinyl and are housed in high quality Stoughton printed tip-on and direct to board jackets. Also included in the set is a perfect bound 40 page 12 x 12 book. An aggressive visual documentation of the history of Burning Witch featuring many never before seen photos plus graphics specifically chosen for this release and some liner notes from Aaron Turner (Hydra Head Records/ISIS) and Chris Dodge (SPAZZ, Slap-a-Ham Records).
Included bound into the book is a DVD of never before released Burning Witch performances. First is video of the bands first ever live show from the Pioneer Square Theater in Seattle, May of 1996. This is the lineup with Greg Anderson on 2nd guitar. The second is the infamous Burning Witch performance on Public Access television from 27 Live in Seattle, February of 1997. The DVD was edited by Alan Dubin (Khanate) and includes a menu and full credits.LP1 - Towers
1. Sacred Predictions
2. Country Doctor
3. Tower Place
4. Sea Hag
LP2 - Rift.Canyon.Dreams
1. Warning Signs
3. History of Hell (Crippled Lucifer)
LP3 - Bleeder
1. The Bleeder
LP4 - Live at the China Club, Ballard 1996
1. The Sea Hag
2. Country Doctor
- Live show from the Pioneer Square Theater in Seattle, May 1996
- Live performance on Seattle Public Access Television, February 1997$125.99180 Gram Audiophile Virgin Vinyl LP Box Set + DVD + Book - 4 LPs Sealed Buy Now