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In My Tribe'
In My TribeIn My Tribe is an album by the American alternative rock band 10,000 Maniacs, originally released on Elektra Records in 1987. It was their second major-label album and their first to achieve large-scale success. John Lombardo, Natalie Merchant's songwriting partner on previous albums, left the band in 1986, prompting Merchant to begin collaborating with the other members of the band, most notably Rob Buck.
In My Tribe was ranked No. 65 on Rolling Stone magazine's list of the 100 greatest albums of the 1980s.1. What's the Matter Here?
2. Hey Jack Kerouac
3. Like the Weather
4. Cherry Tree
5. The Painted Desert
6. Don't Talk
7. Gun Shy
8. My Sister Rose
9. A Campfire Song
10. City of Angels
11. Verdi Cries$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Paradise is There: The New Tigerlily RecordingsNatalie Merchant's career began when, as a college student, she joined the seminal alternative rock band 10,000 Maniacs. Serving as lead vocalist, lyricist, and sometime pianist, Merchant released five critically acclaimed studio albums with the band, including the platinum-selling In My Tribe (1987), Blind Man's Zoo (1989), Our Time in Eden (1992), and MTV Unplugged (1993). Merchant left the group in 1993, after 12 years, to record her first solo album. Tigerlily (1995) was certified five-times platinum, and was followed by the platinum Ophelia (1998), Natalie Merchant Live (1999), and Motherland (2001).
In 2010, Merchant returned with a thematic double album entitled Leave Your Sleep, her debut for Nonesuch Records. A meditation on childhood and mothering, the anthology comprised 19th and 20th century American and British classic children's poetry by the likes of Robert Louis Stevenson, Christina Rossetti, Robert Graves, Edward Lear, and E.E. Cummings that Merchant had set to music. The result was praised by critics on both sides of the Atlantic, with The Wall Street Journal calling it an ideal fit between poetic and musical forms, and the Independent, a hugely ambitious and beautifully realized double album.1. San Andreas Fault
2. Beloved Wife
5. The Letter
6. Where I Go
7. I May Know the Word
8. Seven Years
9. Cowboy Romance
11. Wonder$26.99Vinyl LP - Sealed Buy Now
The Invention Of Animals (Awaiting Repress)
A Collection Of Out-of-print And Unreleased Live Recordings
Limited Edition 180 Gram Vinyl
The John Lurie National Orchestra featuring John Lurie, Billy Martin and G. Calvin Weston
Billy Martin's Amulet Records have announced the release of The Invention of Animals by The John Lurie National Orchestra. The archival compilation assembles seven previously unreleased live and out-of-print studio recordings by the acclaimed musician, actor and visual artist John Lurie leading his early 1990s' trio with percussionists Billy Martin and G. Calvin Weston.
The three of us got together to try and write stuff for my band The Lounge Lizards, but what happened between the three of us was magical. After about a year of playing live it really came together, says John Lurie. There is something so unique and beautiful about this music. I don't think there is anything else like it.
Billy Martin adds: John and I share the idea that this is like someone discovered a field recording of a lost civilization. Some strange and beautiful tribe unlike any other known to man.
The Invention of Animals opens with Flutter, one of four National Orchestra performances culled from the soundtrack of John Lurie's 1991 television series, Fishing With John. Also drawn from that same soundtrack are The Beast, Little and Ignore The Giant. The additional studio recording included here is the title track to the only official John Lurie National Orchestra album Men With Sticks released in 1993. Rounding out the collection are two previously unreleased live recordings. I Came To Visit Here For Awhile was preserved at the Threadwaxing Space in New York City on May 7, 1993. The album's centerpiece and title track, The Invention of Animals, running at 19-minutes-plus, was captured by highly regarded sound engineer Claudia Engelhart from a performance on February 12, 1994 in Thessaloniki, Greece.
John Lurie first became known for his work in the late '70s leading the band The Lounge Lizards, which went on to make music for 20 years. During this time, Lurie recorded 22 albums and composed scores for over 20 movies, including Stranger than Paradise, Down by Law, Mystery Train, Clay Pigeons, Animal Factory and Get Shorty, which earned him a Grammy nomination. Lurie also starred in three films directed by Jim Jarmusch, as well as a host of other films. He wrote, directed and starred in the aforementioned cult classic Fishing with John, a series that is now part of The Criterion Collection. Lurie is also responsible for the incredible music of Marvin Pontiac. Lurie emerged onto the art scene in the spring of 2004, when he had his first painting exhibition at Anton Kern Gallery. Since then Lurie's work has been exhibited in esteemed galleries throughout the world. His solo museum exhibits include P.S.1. Contemporary Arts Center in New York, Musee Des Beaux-Arts De Montreal, the Musee d'Art Moderne Grand-Duc Jean in Luxembourg and the Watari Museum of Contemporary Art in Tokyo, who gave their entire museum over to the presentation of Lurie's work. Both the Wadsorth Athenaeum in Connecticut and The Museum of Modern Art in New York have acquired his work for their permanent collections.
The Invention of Animals by The John Lurie National Orchestra features a painting by John Lurie as its cover art.1. Flutter
2. Men with Sticks (Noble Version)
3. I Came to Visit Here for a While
4. The Beast
6. Ignore the Giant
7. The Invention of Animals$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Younger Than Yesterday (MONO)Ranked 124/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Younger Than Yesterday, the Byrds' fourth albumand in some people's eyes, the pinnacle of their artwastes no time, bursting out of the gates with still another national smash, So You Want To Be A Rock 'N' Roll Star. Spotlighting the jazzy trumpet of Hugh Masekela, this paean to outrageous rock stardom was a highlight of the Byrds' appearance at the Monterey Pop Festival, possibly the most thrilling gathering of the musical tribes, ever. Every bit as exciting was Have You Seen Her Face, the album's second radio hit. A return to space-rock, C.T.A.-102, should have been nominated for a Hugo, the annual prize for the best work in science fiction. The standout track ofYesterday, nevertheless, is My Back Pages, a good bet as the best-ever blend of lush Byrds harmonies and jangling guitar with Bob Dylan at his Finnegan's Wake lyrical best.
Unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.1. So You Want To Be A Rock 'N' Roll Star
2. Have You Seen Her Face
3. C.T.A. - 102
4. Renaissance Fair
5. Time Between
6. Everybody's Been Burned
7. Thoughts And Words
8. Mind Gardens
9. My Back Pages
10. The Girl With No Name
11. Why$28.99Vinyl Mono LP - Sealed Buy Now
IcesIces is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.
When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called flying 1, then flying 2, and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I'd never before felt or explored.
This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, Ancient Aliens, and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn. For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.
Ices as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.
-LIA ICES1. Tell Me
2. Thousand Eyes
4. Love Ices Over
6. Electric Arc
7. Sweet as Ice
9. How We Are
10. Waves$17.99Vinyl 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