Folk 280 Items

Fifty years before this release, Harry Taussig and Max Ochs were featured on the sampler LP 'Contemporary Guitar - Spring '67', alongside John Fahey, Robbie Basho and Bukka White. Both guitarists were "rediscovered" by Tompkins Square in 2005, and have since released new recordings for the label. 'The Music of Harry Taussig & Max Ochs' features newly recorded material, commemorating the 50th anniversary of the Takoma sampler they first appeared on.

Mega Manço is Barış Manço’s third album which was recorded without Kurtalan Ekspres. The arrangements are by Garo Mafyan the veteran keyboardist of “Turkish Chicago” called İstanbul Gelişim. The album is first time on vinyl. While some songs reflect the modern synthe pop age of Manço, some songs have strong references from his Anatolian rock group music period. Süleyman reflects his singles period with Moğollar such as İşte Hendek İşte Deve. Diral Dedenin Düdüğü reminds us of 1981-83 era of Manço which reflects an Anatolian Rock attitude with Arabic influences. Hemşerim Memleket Nire has also important references to the legendary 2023 album, as the song is based on the critical bass lines of the electronic music hit, 2023. The album also contains an instrumental track called Rüya which is a composition of Manço in a Yanni style new age based on piano and strings. In the album you can also hear a significant electro pop hit of Manço named Ayı which had a great popularity among children at that time period when Manço was a fabulous figure for children because of his TV shows. Türküola is once again in place to make such an important album available on vinyl for the first time.

Green translucent vinyl.

Tara Jane O'Neil describes her latest album "Self Titled" as a "singer songwriter" endeavor.

At the invitation and by the design of Mark Greenberg (The Coctails), half of this record was recorded mostly live at Wilco’s Loft Studio in Chicago with a band that included James Elkington, Gerald Dowd, Nick Macri, and Greenberg himself. Another half was made in TJO’s home studio in California with Devin Hoff, Wilder Zoby, Walt McClements and string supervisor Jim James. This album also features the voices of Chris Cohen, Carolyn Pennypacker-Riggs and Joan Shelley. Tara Jane ONeil plays guitar, bass, keyboards and percussion.

As a solo artist she has released eight full-length albums internationally. O’Neil was a founding member of Rodan, the Sonora Pine , amongst other ensembles. She has collaborated on recordings and stages with Papa M, Michael Hurley, Little Wings, Marisa Anderson, Catherine Irwin, Mirah, Mount Eerie, and many many others. She has also performed at clubs, galleries, and DIY spaces around the world and venues such as the Centre de Pompdou, the Whitney Museum of American Art, and All Tomorrow’s Parties. She starred in the cult classic film Half-Cocked. Her visual art work has been shown in cities including London, Tokyo and Portland and has been published in three monographs.

Unreleased recordings of future members of Aktuala and I.P.Son Group.
The history takes us back in the alternative Milan of the early 70’s, to the flavour of the first jam-blues of that era when musicians from different parts of the world (India, Africa or South-America), of disparate background and culture were used to gather to experiment just with an authentic sense of stay together. In these four tracks seem to retrace the path of that spirit with which great pioneers such as John Mayall and Alexis Corner ferried from overseas the essence of the Afro-American music masters. Here, the devotion to the blues roots remains strong but leaks in the compositions an aerial and wandering component that is coloured as if by magic of exotic and spiritual accents. Hypnotic patterns of guitars flowing almost like raga-grooves slowed, free-jazz horns blowing winds of the ancient seas of the south, while voices and percussions span distant horizons now Latinos or Africans. Gruppo Afro Mediterraneo throws his eye on a cultural dimension more extensive and composite and therefore constitutes a fundamental historical document for a crucial period of Italian underground.

The seventh solo-album by the Norwegian vocalist of Midnight Choir fame. The selection of Townes van Zandt's songs that can be heard on 'Come Tomorrow' is drawn from the period 1968 to 1978, and bears witness to a profound understanding of the artist and a great deal of research. The songs are presented in arrangements that preserve their poetic and melodic power with acute sensitivity.

Metqal Quenawi, born in 1929 in Luxor, Egypt, (also known as a.o. Met'qal, Metaqal Kinawi Metaqal and Awlad Metqal, and active with his Metaqal Rebab Ensemble), developed a style based on folk traditions from southern Egypt. Recovering the traditions of the Said (the southern region around Luxor), Metqal was brought up with the customs of the Fellahin (agricultural labourers who passed on the age-old traditions of Egypt) he mastered the rebab, an violin-like, Bedouin instrument made out of coconut shell, wood and animal skin that's played with a horse hair bow. His many recordings from the '70s and '80s (relesed on various cassettes) disseminated and rescued in the '70s and '80s made Metqal into a key reference in Egyptian music. Thanks to this LP, pressed in an edition of 500 copies, Metqal's music is now also available to western audiences.

Rare cosmic Lao synth pop recorded in Paris 1980. This 12" includes the original remaster and edited versions by Parisian producer Shelter. Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation '125 grammes de 33 1/3 tours'). 'Chansons Laotiennes' still remains hard to classify. And then who's Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

Tommy Peltier was born in New Orleans and came out to Los Angeles with his mom on his 13th birthday. A decade later he was a regular playing cornet with his group the Jazz Corps at the famous jazz club, The Lighthouse. In 1966 the Jazz Corps cut an album for Pacific Jazz and featured the fantastic Roland Kirk. In 1970, due to an injury, Peltier could no longer play the horn and looked for other means for expression.

Not one to be undone, he took a few chords that he had learned from friends like Jude Sill - who became occasional collaborator, sometime lover, and lifelong friend - and set out as a singer-songwriter. None of that music saw the light until It was collected together as Chariot of Astral Light. They worked together on a lot of Peltier's material, and Judee pops up on half of the disc handling backing vocals, guitar and organ lines.

He had a house in Echo Park where he held weekly Saturday recording sessions in his front room that a number of peripheral scenesters would attend (Lynn Blessing, Wolfgang Melz, Dave Parlato, and Barry McManus - all of whom appear here). Aside from the few takes done at actual studios, the bulk of the stuff was recorded in that tiny room.

Part 3 of the Abdoul El Omari trilogy. For the first time on vinyl.

Part 2 of the Abdoul El Omari trilogy. For the first time on vinyl.

Compuma, a.k.a. Koichi Matsunaga, reaches back through time to 1970s Hawaii to perform a mind meld, his old-school Roland drum machines and present-era compumagic vulcanizing and reshaping Haku's original home-grown analog synth madness. Not merely a remix, this a synergistic reconstruction, a transformation at the molecular level in which Haku's source-code DNA is reborn in 2015.

Jilk release their new EP ‘In Need of Tess‘ – A wonderful collection of tracks that build on the established epic soundscapes of past releases but also demonstrate the organic development of combining experimental ambient pallets with more traditional orchestral scores and delicate pop sensibilities.

Following their successful collaboration with Haiku Salut on the emotionally charged ‘Periscopes’; Jilk return with warped vocals, soaring strings and a techno core tying the spiralling dense walls of ambience together.

The lead single, ‘In Need of Tess’ is a collaborative piece; a pulsating slice of chamber pop about dead dogs and dreams which also draws on the considerable talents of video director Nic Kane, the sculptures of Hester Sorel Moriarty Thompson.

The rest of the EP comprises of a two-part piece developed from a soundtrack Jilk produced for a lovely short film by Nim Jethwa. Building, developing and fleshing out the ideas; Jilk combine the sweeping beauty of orchestral timbre with driving 4/4 pulse and rusty sounding guitars for Nim and Nim (Sit Down Outro).

Baby Hannah is an epic piece of post rock inflected electronica making full use of the bands wide range of players. Vibraphone, violins and guitars cling to foundation drum patterns as the piece moves from ambient drone through to a rain storm of melodic percussion that even Steve Reich would approve of.

Be Heart: A short but emotionally charged clattering lo-fi electro love song built from home found sounds and frazzled broken synths. The most aching club romance to take place in a child’s toy box.

Then a collaboration with the incredible Nuala Honan as Jilk rework her stand out track ‘All is Not Lost’, (taken from her 2014 album The Tortoise). Jilk mould the song into a hazy blanket of clicks, whirs, strings and heart wrenching vocals from snippets.

The 78 Project is on a journey across America to make one-of-a-kind 78rpm records with musicians in their hometowns using a 1930s Presto direct-to-disc recorder. With one microphone. With one blank disc. In one 3-minute take. Along the way, a kaleidoscope of technologists, historians and craftsmen from every facet of field recording—Grammy-winning producers, 78 collectors, curators from the Library of Congress and Smithsonian—provide insights and history. In Tennessee, Mississippi, California, Louisiana, the folk singers, punk rockers, Gospel and Cajun singers in the film share their lives through intimate performances, and find in that adventure a new connection to our cultural legacy. With musical performances by: Reverend John Wilkins (Como, MS), Louis Michot, Corey Ledet & Ashlee Michot (Arnaudville, LA), Victoria Williams (Los Angeles, CA), John Doe (Fairfax, CA), Dawn Landes (Brooklyn, NY), Holly Williams & Chris Coleman (Nashville, TN), John Reilly & Tom Brosseau (Pasadena, CA), Gaby Moreno & Adam Levy (Los Angeles, CA), Jaron Lanier (Berkeley, CA), Ella Mae Bowen (Franklin, TN), Dylan Leblanc (Franklin, TN), Coati Mundi (Murrieta, CA), The Bo-Keys with Percy Wiggins (Memphis, TN), John Paul Keith (Memphis, TN), Ben Vaughn (Wonder Valley, CA), Sea Of Bees (Sacramento, CA), The Easy Leaves (Santa Rosa, CA) and Little Wings (Topanga Canyon, CA). Special edition DVD with over 30 minutes of bonus materials including complete musical performances and never-before-seen interview footage.

Stunningly beautiful, poignant music from Bilād al-Shām — ‘the countries of Damascus’, known nowadays as Syria, Lebanon and Palestine — including performances from the very first recording sessions in the region. The legendary, moody Beirut singer Būlus Ṣulbān is here — some historians have him singing before Egypt’s Pasha Ibrāhīm Bāshā during his military campaign in Syria, in 1841 — and Ḥasība Moshēh, Jewish ‘nightingale of the Damascene gardens’. Thurayyā Qaddūra from Jerusalem; Yūsuf Tāj, a folk singer from Mount-Lebanon; Farjallāh Baiḍā, cousin to the founders of Baidaphon Records... Musical directors like the lutist Qāsim Abū Jamīl al-Durzī and the violinist Anṭūn al-Shawwā (followed by his son Sāmī); such virtuosi as the qanun-players Nakhleh Ilyās al-Maṭarjī and Ya‘qūb Ghazāla, and lutist Salīm ‘Awaḍ. Even at the time, notwithstanding such brilliance, public music-making was frowned upon as morally demeaning, especially for women. Musical venues were generally dodgy. Ṣulbān once cut short a wedding performance for the Beiruti posh, after just one song, he was so disgusted with his audience. ‘If I had to tell you about the catcalls,’ one commentator wrote about the musical theatre of the time, ‘the stomping of feet, the sound of sticks hitting the ground, the noise of the water-pipes, the teeth cracking watermelon seeds and pistachio nuts, the screams of the waiters, and the clinking of arak glasses on the tables, I would need to go on and on and on...’

Limited edition of 500 only vinyl only release comes with download in beautiful letterpressed jacket. On his 3rd album "Blood Moon Boulder", Chuck Johnson reaches a compositional peak in a nod to the picturesque naturalism of the American landscape. His precision & tone recall Ry Cooder's "Paris, Texas", & his delivery is a melodic melancholy with an every-note-placed-perfectly aesthetic. "...music that has both an engaging, rustic familiarity & a hypnotizing tonal richness." - Chicago Reader

A truly unique Gospel stylist - Isaiah Owen's plays guitar and sings in his own very distinctive and otherworldly way. Isaiah plays loud and with quite a bit of dissonance, his voice floating above beautifully. This LP features some of his finest performances captured from his radio broadcasts in Montgomery Alabama and from studio recordings. Mississippi is very proud to present this material. Liner notes by Kevin Knutt (of the greatest radio show of all time, Sinners Crossroads, as well as the Case Quarter label).

This American cult legend has turned his laidback style into a trademark. J.J. Cale has forged an inspiring career that spans four decades. Collected is an essential J.J. Cale compilation on three 180 gram LPs chock full of rootsy Americana songs that will stay in the back of your head long after you turned off the record player.

180g vinyl.

Reissue of German cassette release as vinyl after nearly 40 years. The songs are from the various singles and the debut LP. The title song 'Yuh Yuh' is from Selda's 1977 'Dostum Dostum'/'Yuh Yuh' single. Most of the songs are performed with the Anatolian Rock super group Dadaslar who are known for their works with Ersen. The group consists of Fehiman Ugurdemir (guitars and synthesizer, former Cem Karaca & Kardaslar guitarist), Ozkan Ugur ((bass, former Baris Manço guitarist) and Mehmet Gözüpek (former drummer of Bunalim) and creates a powerful groove with their psychedelic arrangements.

A reissue full LP of the legendary Palm wine guitarist S.E. Rogie’s early work. Truly beautiful songs from the 1960s ranging from sweet acoustic solo numbers to blazing full band electric music. SE Rogie had a very long and pioneering career in Sierra Leone. His songs are some of the most beautiful ever—gentle and lilting timeless melodies. One of the greats. A co-release with our friends at the Domino Sound label.

Limited edition for Record Store Day 2015!