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The Incredible True Story'
The Incredible True StoryNearly a year after the release of his debut album Under Pressure, Def Jam Recordings / Visionary Music Group artist LOGIC has is back with his new album THE INCREDIBLE TRUE STORY. Young Jesus is the first single from the highly anticipated sophomore and follows a massive year for the Maryland raised rapper with the release of his debut album Under Pressure. The debut effort received rave reviews from critics, debuted in the Top 5 on the Billboard 200 and catapulted him onto a world tour in addition to performances at festivals such as Lollapalooza, Wireless Festival UK and Governor s Ball.1. Contact
2. Fade Away
4. White People (Scene)
5. Like Woah
6. Young Jesus
8. I Am the Greatest
9. The Cube (Scene)
10. Lord Willin'
11. City of Stars
13. Babel (Scene)
15. Never Been
16. Run It
17. Lucidity (Scene)
18. The Incredible True Story$34.99Vinyl LP - 2 LPs Sealed Buy Now
Put Your Needle DownThe Secret Sisters' incredible story is as simple and true as the effortless harmonies that got them here. Begin anywhere -- the thick and fertile brambles
of their own family history or light upon the branches of the wondrous, fractal menagerie that makes up their self-titled debut album. The pair of Alabama
sisters direct from Muscle Shoals (barely twenty-somethings themselves) caught the attention of T Bone Burnett, who signed on as Executive Producer of
their debut album after spending time with Laura and Lydia and hearing them sing live, and is releasing the album on his new label created especially for
this release -- Beladroit. As Burnett explains, I have been making music for over forty years and The Secret Sisters album is as close to pure as it gets.
Their self-titled debut album consists of ballads, originals, and cover songs such as Why Don't Ya Love Me?, Why Baby Why, and the Frank Sinatra
song Somethin' Stupid. The album also includes two originals written by Laura Rogers: Tennessee Me and Waste the Day. The album was recorded
in two weeks at Blackbird studios. Their eleven-song debut was produced by Dave Cobb, who has worked with artists such as Waylon Jennings and
Jamey Johnson, and also executive produced by T-Bone Burnett. The Secret Sisters brough in studio musicians such as steel guitar player Robbie
Turner and pianist Pig Robbins. Also included on the album is a cover of the 60s rock song by then teenage singer Nancy Baron I've got a Feeling,
written by Wally Zober and C. Laverne. The album was also recorded with classic analog equipment. The production team and the Sisters utilized vintage
microphones and classic recording techniques, down to the same type of tape they would have used fifty years ago.1. Rattle My Bones
3. Dirty Lie
4. The Pocket Knife
5. Let There Be Lonely
6. Black And Blue
7. Lonely Island
8. I Cannot Find A Way
9. If I Don't
10. Good Luck, Good Night, Goodbye
11. Bad Habit
12. River Jordan$23.99Vinyl LP - Sealed Buy Now
6 Feet Beneath The MoonSix Feet Beneath The Moon is the long-anticipated debut album from Southeast London's King Krule.
Archy Marshall aka King Krule broke out two years ago, at the tender age of 16 with his eponymous
EP released on True Panther. King Krule's sound, a
hypnotic mixture indebted to working class British
song-smiths like Billy Bragg as much as NY No-Wave
and hip hop carries a maturity and depth far beyond
his years. The EP's lead single, "Noose of Jah City"
found a great deal of success on BBC's Radio 1,
and brought Archy praise from Pitchfork, The NY
Times, FADER and numerous other publications. His
music has also won him fans among today's young
music elite - Mac Miller, Frank Ocean and Tyler, The
Creator are all supporters, collaborators and fans.
Six Feet Beneath The Moon takes the potential
evident in the EP and blows it out of the water.
Across 14 tracks Archy expertly weaves incredible
stories of London life, his own relationships and
experiences with the swagger of a street poet, all in his incredibly distinct smoky baritone. The album, recorded mostly near Archy's South London
home with producer Rodaidh McDonnell (The XX,
Savages, How To Dress Well) is stark but incredibly
rich - painting with a palate full of hip hop, jazz, no-wave and poetic influences.
The album shares the electric confidence of some of last decade's most important debuts - Arctic
Monkeys' Whatever People Say I Am, That's What
I'm Not', The Streets' Original Pirate Material and
Dizzee Rascal's Boy In Da Corner. It is somehow
both a perfect summary of a young man's life in a
particular part of London and a universal, deeply
moving and compelling statement. Most importantly,
it is the flag ushering in a new and important musical voice that is sure to be with us for quite some time.1. Easy Easy
3. Has This Hit
6. Baby Blue
8. Lizard State
9. 'William, Here I Come
10. Ocean Bed
11. Neptune Estate
13. Out Getting Ribs
14. What Is There To Say?$27.99Vinyl LP - 2 LPs Sealed Buy Now
How Did I Find Myself Here?The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to the Black Crowes. Known for their incredible live performances, the band toured with everyone from REM to U2, before splitting up in 1988.
In 2012 after years apart in solo projects, front man Steve Wynn reunited The Dream Syndicate to perform at a charity festival in Spain. The reunited band took everything in baby steps. A few shows here and there-including a still talked-about set at Wilco's Solid Sound Festival. The shows were exciting---for both the band and the eagerly awaiting fans, many of whom weren't even alive when the band were around the first time. The next step was to see if the excitement and newfound chemistry would extend to the studio. From the first day of recording it was apparent that the band was making an album that would live up its history and take their story into the present. Wynn says, In a way it feels like if The Days of Wine and Roses would have been made in 2017. Which is to say that it's true to what we did before but it's also a whole new thing.1. Filter Me Through You
3. Out Of My Head
4. 80 West
5. Like Mary
6. The Circle
7. How Did I Find Myself Here
8. Kendra's Dream$19.99Vinyl LP - Sealed Buy Now
Cheers, It's ChristmasGRAMMY nominated country superstar, Blake Shelton, is CMA Awards' reigning "Male Vocalist of the Year"for the 4th consecutive year, the 2013 recipient of "Album of the Year" for his current platinum-selling album, Based On a True Story and a coach on NBC's Emmy Award-winning reality singing competition series,The Voice. Noted to be one of the most versatile of contemporary country singers, according to The New York Times, Shelton is currently celebrating making history with his 12th consecutive No. 1 and latest single, My Eyes, marking the most consecutive No. 1 records atop the country airplay charts by an artist. His fifth single off this album and 17th No. 1 overall, follows up his multi-week No. 1 smash hit, "Boys 'Round Here," Doin' What She Likes, "Mine Would Be You," which topped the charts for three weeks, making it one of the longest-charting country singles of 2013, along with the albums debut singleSure Be Cool If You Did. Also a member of the Grand Ole Opry since 2010, Shelton has earned a host of other awards and nominations, including three GRAMMY nominations this year: Country Album of the Year, Country Solo Performance and Country Song of the Year for "Mine Would Be You." Meanwhile, his earlier hit, the infectious multi-week No.1, "Honey Bee still holds the record for the fastest-selling digital platinum single for a male country solo artist. "To a purist Mr. Shelton is a savvy student of tradition. To a would-be outlaw he's forever adding a wink. He's a star who is only as explicit as you want him to be," explains The New York Times. Shelton's passion for country music and his commitment to mentoring his teammates on The Voice make him an incredible ambassador for country music.1. Jingle Bell Rock (feat. Miranda Lambert)
2. White Christmas
3. Oklahoma Christmas (feat. Reba)
4. Let It Snow! Let It Snow! Let It Snow!
5. There's A New Kid In Town (feat. Kelly Clarkson)
6. Santa's Got A Choo Choo Train
7. Home (feat. Michael BublÉ)
8. Winter Wonderland
9. The Christmas Song
10. Blue Christmas (feat. Pistol Annies)
11. I'll Be Home For Christmas
12. Silver Bells (feat. Xenia)
13.Time For Me To Come Home (feat. Dorothy Shackleford)
14. The Very Best Time Of Year (feat. Trypta-Phunk)$19.99Vinyl LP - Sealed Buy Now
HomesickBefore digging into the steely, handcrafted technoisms of Homesick, you need to
know a few things about Charles Du , the Bay Area artist behind Matrixxman.
Perhaps most importantly, he is a dedicated futurist-quick to name Google's
director of engineering, Ray Kurzweil, as a major personal inspiration, and prone to
contemplating artificial intelligence and a true post-corporeal reality. He's also a
voracious information junkie, soaking up government conspiracies and
contemporary science-fiction like a proper X-Files fanatic. These cultural reference
points are as integral to the background of Homesick as Detroit, Chicago, and
Berlin's musical legacies. Across the record's versatile tracklist, Matrixxman uses
the language of machines and dancefloors like a hungry pulp novelist, weaving
together his divergent narratives and characters under one sprawling dystopian
If you listened to house and techno in 2014, you've undoubtedly heard the name
Matrixxman. The guy has been on a prolific tear since debuting his project in 2013,
having issued no fewer than 12 cold-ass futuristic releases and taken his
genre-blurring DJ sets around the world in under two years. But his story reaches
much further into the past: back to being a drum & bass-obsessed teenager in the
late '90s, back to when Du 's best friend changed his life with a Juan Atkins mix
CD in 2001, back to producing for hotly tipped MCs like Le1f, Ty Dolla Sign, and YG.
Matrixxman is already a venerable pro with workmanlike constitution, to say the
least, and yet his debut album has only just materialized.
My obsession with the darker sides of humanity's exploits gone awry is secondary
to the more important matter at heart: evolutionary transcendence, Matrixxman
explains. And his focus on cybernetic themes shines through the music. Emergent
AI, interplanetary travel, neuroenhancement drugs, incredible opulence
juxtaposed with abject poverty, leaving physical form and existing as data-Homesick
distills the concepts into thick acid lines, brawny 909 patterns, tonal contrasts,
dynamic aesthetics, and viscous pads steeped in digital ephemera. It begins with
Necronomicon, a massive black cloud of noxious ambience looming over our
story, and ends on the astral mysticism of Earth Like Conditions. Yes, there is an
arc built into Homesick, and the sci-fi epic it illustrates seizes your undivided
Even the tracklist speaks volumes to the record's music and narrative-from the
enhanced motorik systems of Augmented and Network Failure's cognitive
dissonance, to the dark hedonism in Opium Den and the drum machine violence
that drives Switchblade. As Matrixxman says himself, The titles correlate to
distinct, separate scenes. And those visuals just about come alive on tracks like
Packard Plant-a whirring, windswept homage to the desolate Detroit
landmark-or the album's haunted and distant centerpiece, Annika's Theme. Du
is quick to share Annika's identity: She's an incredibly gifted neuroscientist,
pursuing cutting-edge research in fields that will have a profound impact on
humanity. But what exactly she accomplishes and where she goes is unexplained.
Homesick outlines the cues needed to follow along, careful to leave room for us to
fill in the details.
Matrixxman uses his debut album to evoke visions of a not-too-distant-future with
music made both for the dancefloor and the early morning zone-outs that follow.
These are the real world applications of Homesick, though Du comes to it all from
an entirely di erent mindset. We will have the technological capability to fully
map out a human brain in its entirety within 30 years, he starts. The implications
of such a possibility are deep and far reaching. We will be crossing a rubicon
towards a new phase in human consciousness. I am one person that is prepared to
take that step. Once you emerge on the other side of Homesick, it seems possible
that Matrixxman already has.1. Necronomicon
3. Red Light District
4. Packard Plant
6. Network Failure
7. False Pattern Recognition
8. Opium Den
9. Annika's Theme
10. HMU (Hit Me Up) feat. Vin Sol
12. Earth Like Conditions$20.99Vinyl LP - 2 LPs Sealed Buy Now
LiveSundazed Music is proud to present a genuine psychedelic landmark: Live by Moby Grape, the first official collection of concert recordings by the legendary San Francisco band at its blazing late-Sixties peak. At that time, in rock's hippest city, there was no other band like the original Grape: Jerry Miller, Skip Spence, Bob Mosley, Peter Lewis and Don Stevenson. Their Columbia debut LP, Moby Grape, issued in June 1967, is still acclaimed as one of the greatest rock albums evera thrilling union of blues, soul, country, surf twang and day-glo garage rock, packed into original killer-pop songwriting. Even as extreme Columbia hype, devastating business hassles and Spence's tragic mental collapse threatened to blow up the band, the Grape continued to make immortal albums, including 1968's Wow and the magnificent Moby Grape '69.
But the records told only half of the tale. Moby Grape, in their prime, were also one of the Bay Area'sand America'sbest stage bands, like the Beatles and Rolling Stones in one, with a breathtaking triple-guitar attack and stunning vocal harmonies.
Live is the long-awaited proof. It features more than an hour of dynamite performances from soundboard and broadcast tapes, including tracks from the Avalon Ballroom in 1967 and the band's complete long-lost set at the Monterey Pop Festival, just a week after Moby Grape came out. There are live versions of the great rare Grape songs Rounder and Looper and five tracks from a famous Dutch radio show featuring the hard-charging '69 lineup of Miller, Mosley, Lewis and Stevenson.
And Live climaxes with the historic first-ever release of Spence's acid-guitar masterpiece Dark Magicnever recorded in the studio by the original band but presented here in an epic 17-minute performance at the Avalon, on New Year's Eve 1966. Moby Grape were the hottest band in town that night, with the whole rock & roll world ahead of them. And they sound like it. These four-decade-old recordings have been spectacularly mastered, in you-are-there fidelity, and this album comes with sumptuous packaging and rare photos, in true Sundazed style, plus liner notes by Rolling Stone writer and Moby Grape authority David Fricke. Live presents, at last, the untold part of Moby Grape's incredible story. It is San Francisco psychedelia at its zenith and the best historical rock release of the year.1. Ain't No Use (Avalon Ballroom, San Francisco, 1967)
2. Rounder (Avalon Ballroom, San Francisco, 1967)
3. Looper (Avalon Ballroom, San Francisco, 1967)
4. Bitter Wind (Avalon Ballroom, San Francisco, 1967)
5. Changes (Avalon Ballroom, San Francisco, 1967)
6. Indifference (Avalon Ballroom, San Francisco, 1967)
7. Someday (Avalon Ballroom, San Francisco, 1967)
8. Introduction (Monterey International Pop Festival, 1967)
9. Indifference (Monterey International Pop Festival, 1967)
10. Mr. Blues (Monterey International Pop Festival, 1967)
11. Sitting by the Window (Monterey International Pop Festival, 1967)
12. Omaha (Monterey International Pop Festival, 1967)
13. Sweet Little Angel (San Francisco, 1967)
14. Murder in My Heart for the Judge (RAI, Amsterdam, Netherlands, 1969)
15. I Am Not Willing (RAI, Amsterdam, Netherlands, 1969)
16. Trucking Man (RAI, Amsterdam, Netherlands, 1969)
17. Fall on You (RAI, Amsterdam, Netherlands, 1969)
18. Omaha (RAI, Amsterdam, Netherlands, 1969)
19. Dark Magic (Avalon Ballroom, San Francisco, 1966)$36.99Vinyl LP - 2 LPs 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