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When first released Astro-Sounds From Beyond The Year 2000 promised an uncharted trip beyond the now generation! And it certainly delivered, as soon as the needle drops onto the opening track ‘Flameout’
we are in astral freak-out territory with cosmic strings phased beats & displaced fuzz guitars... Despite being released as a budget label’s take on the burgeoning psychedelic scene Astro Sounds, delivers the real deal.
This is thanks in no small part to the central role played by Wrecking Crew guitarist Jerry Cole. Cole had previously been the involved some L.A. session colleagues and cut his own psychedelic
album: The Inner Sounds of the Id by 'The Id' and was the perfect choice to front Astro Sounds which can be considered a development from the seminal sounds of the Id.
Astro Sounds has suffered from some unofficial releases that offer poor audio quality. This Vinyl Exotica re-issue is remastered from the original tapes and is presented on coloured vinyl

Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic. The Brooklyn native was of Sudanese descent; in addition to playing bass, he also plays oud, the forerunner to the lute. Originally released in 1960 the album is rich and heady, a multi-layered set of tonal grooves that are wrapped tight beneath the melody lines. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. His ability to fuse Western Jazz with the driving rhythms created by his oud that seems almost sequenced, are startling.

Recorded in Stockholm in 1962, and originally released on Sonet Records, these sessions stand as Ayler's first step into a new sonic world. This was when Ayler was still dealing with classic Jazz standards such as "I'll remember April", M Davis's "Tune Up" and "Rollins Tune", a declared tribute to the older master Sonny Rollins. His already super-strong tenor sax voice dominates a quiet, almost shy, local rhythm section featuring Torbjorn Hultcrant on bass and Sune Spangberg on drums. This was just before stepping into his unique, hyper energetic and ecstatic form of Free Jazz. This was Ayler sowing the seeds of a revolution to come!

Andrew Hill’s 1968 album Dance With Death stands as one of the most gratifying though under-recognized sessions of the brilliant pianist’s discography featuring his singular compositions performed by a versatile quintet with Charles Tolliver, Joe Farrell, Victor Sproles, and Billy Higgins.

Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

Art Blakey and the Jazz Messengers with Barney Wilen provide an essential jazz soundtrack to an extended ‘surprise party’ scene in director Roger Vadim’s 'Les liaisons dangereuses'. Originally released on the Fontana label, Blakey’s lively hard-bop and latin originals were used specifically as night club and party music in the film and his ‘No Problem’ became a classic with Blakey’s band in full flight. Decca France present the original soundtrack recording on 180gm vinyl in a deluxe gatefold tip-on jacket with English translation of the original liner notes, and a photo from the film of Gérard Philippe and Jeanne Moreau. Included is a 2pp insert with additional notes by recording producer Marcel Romano from 1988.

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

The drum hero’s classic 1963 album
 Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, during November and December 1961
The Jazz Messengers’ 11th Blue Note album
Featuring the classic Messengers line-up of Freddie Hubbard (trumpet/flugelhorn), Wayne Shorter (tenor), Curtis Fuller (trombone), Cedar Walton (piano) and Jymie Merritt (bass)
Showcasing three classic Shorter compositions (‘Backstage Sally’, ‘Contemplation’, ‘Reincarnation Blues’) plus Fuller’s ‘Bu’s Delight’, Walton’s ‘Shaky Jake’ and a take on Henry Mancini’s ‘Moon River’
Produced by Blue Note co-founder Alfred Lion
Includes photography by BN co-founder Francis Wolff and liner notes by esteemed writer Leonard Feather

Gilberto with Turrentine is an album by Brazilian samba and bossa nova singer Astrud Gilberto and American saxophonist Stanley Turrentine featuring performances recorded in 1971 released on the CTI label. The album can be described as a blend of jazz, pop, and tropicalia. It was arranged by Eumir Deodato and features appearances by A-list jazz performers including Airto Moreira, Ron Carter, Sam Brown, Hubert Laws, and Toots Thielemans.

After creating a storm in the 50s with over 30 chart-hitting singles, BB King didn’t slow for a moment as he marched into the next decade. The Great B.B. King, the blues legend’s fifth release for Crown Records, was released in 1960 and collects a number of his iconic 50s hits including “Sweet Sixteen” and “I Had A Woman (Ten Long Years)”. P-vine is delighted to be revisiting this essential album for a limited pressing on 180g heavyweight vinyl paired with an iconic Japanese obi strip.

Texan rhythm and blues icon Barbara Lynn made an incredible impact in 1962 with the chart-topping debut single, ‘You’ll Lose A Good Thing,’ which has since been covered by Aretha Franklin, Freddy Fender, and countless others. A southpaw guitarist who wrote her own material, debut LP You’ll Lose A Good Thing captured our heroine at her best, the soulful smoky voice a striking contrast to the blues base of her backing musicians (including Dr John on keyboards). Containing the follow-up hits ‘Second Fiddle Girl’ and ‘Letter To Mommy And Daddy’ as well as the cherished title track, it’s a winner from start to finish.

We Are Busy Bodies is proud to announce the first official reissue of 'Zodiac' by brilliant French tenor saxophonist, Barney Wilen. Originally released on the Disques Vogue label in 1966, the album has been restored and remastered from Barney Wilen's personal copy of the album. The album was recorded a few years after performing on albums and European tours with Art Blakey's Jazz Messengers and Miles Davis. The album is an exploration of free jazz, dedicated to the signs of the zodiac. Wilen and his friend, photographer Jean Larivière worked together to create the photos and artwork for his album, Zodiac. The intention at the time was to also create a film with a storyline and characters developed by Jean. Unfortunately, the concept was never fully realized at the time,. Sketches, photos and further context are included in the accompanying album insert.

This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the New Wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the 70's they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).

HIGHLIGHTS:First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s.This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.First time reissue.- DETAILS:Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label.The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez.Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra.Betico Salas would later release two more albums and bec...

Here is Beybonlar Orkestrasi. Ultra rare Turkish heavy psychedelic single by Beybonlar from 1969.

Amazing stuff from the teenagers band that the drummer was only 12 years old when they recorded the tunes Side A is Gelin Ayse (Bride Ayse) which is very sad traditional Turkish folk song that arranged by the psych form Side B is Nenni (Lullaby) that is a traditional tune, but what a traditional tune by the teenagers!!! Enjoy it..!

Sacd

Most listeners only became aware of Billy Preston as a solo artist after he signed to Apple Records in the late 1960s. But he'd been recording for a long time prior to that, dating back to when he was a teenager. This instrumental album for Sam Cooke's SAR label (issued on its sister Derby imprint) was cut in March 1963, when Preston was still going to high school in Los Angeles. The very fact that it's wholly instrumental indicates that it's pretty early in Preston's evolution, and though he does play some piano, it's really on the more uptempo, organ-dominated tunes where he hits the best groove. In truth, these aren't any great shakes even when it comes to soul organ instrumentals, but they have a nice swinging bounce that places them a cut above period background music, though they fall a good ways short of being spellbinding. The slower numbers (including covers of hits by Sam Cooke and Ray Charles) verge on easy listening; in contrast, the more urgent cuts are cookin', with bop, jazz, and gospel influences spicing up the soul/R&B recipe. (allmusic)

180 gram pressing!

Signed By Simeon

Bob B. Soxx & The Blue Jeans’ star burned hot and fast, they were together only two short years, and recorded just this lone LP, but the group of Bobby Sheen, Darlene Love (of The Crystals fame), and Fanita James, are responsible for one of the most immortal hits of Phil Spector’s career, the teen anthem “Why Do Lovers Break Each Other’s Heart”. Rounded out with 11 more tracks that feature the unbelievably talented team of Phil Spector production, Jack Nitzsche arrangements, and Billy Strange and Glen Campbell on guitar. A Spector classic reissued by Cornbread on 180 gram vinyl with download code.