Folk 307 Items

Neil Young finally releases his 1975 album "Homegrown" which was shelved back then due to him feeling uncomfortable with it being to personal.

Yugoslavia - six republics, four decades, one dictator and a single record label that ruled them all: Jugoton (Zagreb, Croatia). Jugoton was by far the country's largest label with the strongest and most diverse output that stretched from Balkan roots to contemporary trends and the sound of tomorrow . The early days of Yugoslavia featured strong censorship but by the end of the 60's the Communist party views softened up by a large degree. Westernized music already had a solid presence and first James Brown influenced compositions were released. Yugo funk, a term coined by DJ’s and crate diggers from the Balkans, encompasses a wide variety of performers and genres: from the 60's merseybeat rock bands, prog rock groovers and big band jazz orchestras to the late 70's sophisticated 4x4 funk and essentially everything in between. Jugoton Funk Vol.1, a first of its kind, celebrates the pioneer years of funk infused music released by Jugoton. While in pursuit of these treasures all over the Balkan region and beyond, the compilation’s selectors, Dr. Smeđi Šećer & Višeslav Laboš, both active as DJ's and crate diggers from the sole beginnings of the ex-Yu craze, wanted to capture the authentic and idiosyncratic funk sound of Jugoton and Yugoslavia. So here it is, comb your moustache, light up a fat one, turn up the amplifier and headbang away to these amazing tunes remastered from original master tapes dug out of the Jugoton vaults (now Croatia Records). - Compiled by Dr. Smeđi Šećer & Višeslav Laboš. Here’s the exclusive interview with Dr. Smeđi Šećer: www.psychedelicbabymag.com/2020/09/jugoton-funk-vol-1-a-decade-of-non-aligned-beats-soul-disco-and-jazz-1969-1979.html

2024 restock. Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. It's a DIY collection of different genres, from different countries across different decades, that are all bound by the same longing sentiment. A concept compilation! A seemingly disparate suite of selections of forgotten fables by more or less never-knowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release "Sarra" after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled Fire Star, a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by popular NTS show "Noise In My Head" offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe. Includes digital download. Also features: Linda Smith, Bruce Langhorne, The Seraphims, Some of My Best Friends Are Canadians, The Rising Storm, Warfield Spillers, Joyce Heath, Angel, Nora Guthrie and Once.

Really an amazing atmospheric and psych-influated album by Afet Serenay. Mind-blowing tunes by the players, band members were famous musicians and the band called "arilar" (which means The Bees). Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Psychedelic Folk.. Most of the songs are from traditional Turkish folk songs with groovy arranges, drum attacks, percussions, saz and absolutely superb moog sounds going there and here.. Lovely and tasty Turkish Delight..! Enjoy the sound!

Türküola proudly presents a brand new Cem Karaca album where most of the songs made their premieres inside this release. From the original masters of Türküola, we will be hearing Apaşlar, Ferdy Klein and even Dervişan era of Cem Karaca with English lyrics. As the opening track, we hear “Mutlaka Yavrum” which he recorded with Dervişan in 1975 which is really a political piece also with English lyrics. Karaca tells the stories of the children in refugee camps because of the Palestine and Israel conflict. The English versions of “Kendim Ettim Kendim Buldum”, “Emmioğlu”, “Muhtar” and “Baba” have the same playback with their Turkish versions but this time directly and faithfully transferred from their original masters. These tracks were recorded with Ferdy Klein Orchestra in 1970. The Turkish versions of these songs were previously released but the English ones were in the treasure box till now. “Tears”(Resimdeki Gözyaşları), “No No No” (Emrah 1970), “Why” (Oy Babo) and “Istanbul” (Istanbul’u Dinliyorum) are the recordings of Apaşlar with the support of Ferdy Klein Orchestra dated 1968 and the English versions were also released in the same era as two separate singles. In this album, we also hear instrumental tracks played by Apaşlar with the support of Ferdy Klein Orchestra namely “Memories of Marmara” (Emrah 1970) where vocal parts are replaced with strings, “Laila’s Dream” (Resimdeki Gözyaşalrı-Tears) where vocal parts are given with brass and solo sax, “Oy Bana Bana” where vocal parts are replaced with electric guitar and sax. These three songs were previously released in the LP of The Bosporus Sound Orchestra named “Laila’s Dream” which had been released by United Artists, Liberty, and Türkofon before. The Bosporus Sound Orchestra was, of course, Ferdy Klein’s pseudonym for his orchestra. Thanks to Türküola for making these legendary recordings meet its collectors and Anatolian Pop fans via faithfully transferred master recordings.

Purple Vinyl.Celestial piano composition and performance by a classically-trained Ethiopian nun. Erik Satie, Debussy, liturgical music of the Coptic Church, the Ethiopian five-note scale, and a touch of the divine. It is some of the most moving piano music you will ever hear!

The second LP compendium of Emahoy Tsege Mariam Gebru's early solo piano works, recorded throughout the 1960s - finally available again. Emahoy Tsege Mariam Gebru is a true original - her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear!These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife.Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

First album for post hardcore Boston band Pile

1st guitar band in Cambodia

Pharaway Sounds proudly presents a compilation dedicated to Erkin Koray, the father of Anatolian Rock / Turkish Psych. "Halimem" includes rare single & cassette only tracks (mostly from 1970-72 plus three killer ones from 1987!!).

More than 25 years in the making, Swedish folk rock pioneers Garmarna continue to reinvent what music rooted in the Scandinavian tradition is about. New album 'Förbundet' is a hard-hitting record that pushes the boundaries of traditional folk and defines the soul of Garmarna. One of the underlying themes of the record is facing the beauty of living and the beauty in saying goodbye. Some of the core songs on the album, like Dagen Flyr, Ur Världen Att Gå and Avskedet, spread their message of sorrow and letting go across all of the other songs. Having always pushed to reinvent themselves with every record, Garmarna does not shy away from modern, electronic influences on ‘Förbundet’. Simultaneously, the musicians also took a closer look at what they believe is the core of their music, calling it the most satisfying album they have made so far. ‘Förbundet’ is all about that soul, from start to finish.

Steve Gunn and John Truscinski's collaborations are point where experimental instrumental rock and cosmic jazz meet. This is their fourth album overall and first in three years. Gunn-Truscinski Duo fans are intense in their love of these records - they naturally spin off from Steve's solo work but also go in their own directions as well. This track - and album - will be rapturously received by the fans of this project as being cut from a similar cloth that they already know and enjoy but covering some different and previously unworn ground. The first release in the Three Lobed Recordings 20th anniversary series, this should be a title with multiple sales points (Gunn, Three Lobed, other participants in the 20th series).

"Three Queens in Mourning first gathered in summit to sing celebration of the publication of Will Oldham’s book of collected lyrics, Songs of Love and Horror. Alasdair Roberts (Appendix Out) , Jill O’ Sullivan (Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and dearest from Bonnie Prince Oldham’s far-reaching catalogue. On this back to back records, The Bonnie ‘Prince’ Billy LP is a collection of three cover versions from Ali, Jill and Alex directory and one original track." (label info)

We're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It’s an incredible unique mix of rock’n’roll, funk, surf, traditional sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we’re happy they will now be widely available. “Argos Farfish” which was featured on our last comp amassed close to 400.000 plays already.

"Country Hits...Feelin' Blue", released by Tennessee Ernie Ford in 1964, is a throwback — or as the liner notes to this country classic (perhaps Ford's best) say, »You don't hear much singing like this nowadays — just a voice with easy guitar and bass accompaniment«. But oh, what a voice. Ford's resonant-voiced baritone might be best known for his 1955 cover of Merle Travis' grim coal-mining song "Sixteen Tons“, with sales topping 4 million copies. The hit cemented Ford's place as one of America's top entertainers — a singer and TV host who enjoyed success during the 1950s, '60s and '70s in multiple musical genres — country, pop, and gospel.
He first guested on the Grand Ole Opry in 1950, and in 1953 he became the first country singer to appear at London's prestigious Palladium. Soon NBC hired him to emcee the television game show "Kollege of Musical Knowledge", and also to host his own weekday program. His subsequent prime-time network variety programs made »Bless your little pea-pickin' hearts« a household catch phrase and provided wide exposure for his musical renditions of great country and gospel favorites.
The songs chosen by Ford for "Country Hits...Feelin' Blue" are all favorites, some of the best tunes from the inspired pens of such country composers as Hank Williams, Fred Rose, Jenny Lou Carson, Willie Nelson, and Don Gibson. The album (one of Ford's favorite LPs) was recorded with backup provided by just two musicians; guitarist Billy Strange and bassist John Mosher.
Some of these songs go back to the start of Ford's career when he and Strange were working together as cast members of Los Angeles's "Hometown Jamboree" country music radio show. Mosher was a member of Ford's TV show band since its inception. Strange created the musical arrangements for "Country Hits...Feelin' Blue" — a quiet, simple get-together with the songs they had been playing and singing down through the years. That's why it's more than just another album. You can hear the affection and understanding coming through.
For this Analogue Productions reissue we turned to the experts who once again bring their stellar craftsmanship to the creation of a phenomenal-sounding release. Lacquers were cut by Kevin Gray at Cohearent Audio who mastered the LP from the original tape. Plating and 200-gram pressing was by our own Quality Record Pressings, makers of the world's finest-sounding LPs noted for their superior sonics and silent backgrounds. And nothing less than a Stoughton Printing old-style tip-on jacket would suit such a great LP.
Albums have been made with lots more people and lots more sound. But quantity never did mean quality. This is just a simple, great album. Great voice, great guitar and bass, and great songs — the best of each.

Türküola releases maybe the most outstanding piece of Cem Karaca & Apaşlar in their adventure in Germany. Cem Karaca was a new born Anatolian Pop star from rock’n’roll roots and Apaşlar was a surf band when they united in 1967. In the end of 1967 they toured Germany and began to record with Ferdy Klein Orchestra (which was a version of Werner Müller Orchestra) between 1968-1969. “Gılgamış-Ayrılık Günümüz” is one of the singles recorded as a cooperation between the band and the “big band” . Therefore the A side of the single “Ayrılık Günümüz” (Our Day of Departi reflect this cooperation between Werner Müller Orchestra and CK & Apaşlar with a feeling of mod scene, a rock ballad with polyphonic arrangements. On the other hand the flip side of the single gives out the band’s own groove and performance with the instrumental psychedelic rock peace “Gılgamış” (Gilgamesh). Gılgamış is inspired by the Epic of Gılgamesh and the band plays a powerful groove with a Mesopotamian mood and riffs. The Apaşlar line-up playing in this piece was Mehmet Soyarslan (electric guitar), Seyhan Karabay (bass), and Leon Habib (drums). Beginning with Seyhan Karabay’s solid bass riffs which is followed by drums of Leon Habib serving an energetic groove; Soyarslan plays his Epiphone guitar with psychedelic effects which sometimes take the main theme to a micro tonal scale. Today we have the opportunity to hold this unique piece in compliance with the authentic cover coated with gelatine and its vinyl produced from the master tapes. Thanks to Türküola for this generous reissue for the collectors of Turkish psychedelia.

In the life of any interesting artist, there is the perpetual war between the
simplicity of public perception and the complexities of reality. Consider Hanni
El Khatib, a definitive purveyor of visceral, blues-wracked, punk-spiked,
soul-warped, knife fight rock n’ roll over the last decade. You may be familiar
with him through any one of his four acclaimed solo albums on Innovative
Leisure, his work with Dan Auerbach of the Black Keys, or as one of the rare
polymaths able to artfully blend serrated guitars and hardcore rap on collaborations with GZA and Freddie Gibbs. And while these are all real things that
could accurately yield a sketch of the multi-dimensional Los Angeles-based
artist, they amount to little more than a black and white pencil sketch.
From 2010 until 2017, there was the usual cycle that consumes most working
21st musicians: make an album, and tour it for the next 18 months. Return
home, rinse and repeat. And with it came the predictable pitfalls that ensnare
too many artists whose professional obligations require high-octane performances before 1,000 or more strangers every night. It is a dream until that
one night when it isn’t any longer, and despite his gratitude for his fans and
station in life, El Khatib found himself wracked by depression and anxiety.
What had once been joyous creative outlet felt like a job. In the wake of the
release of 2017’s Savage Times, it became readily apparent that if El Khatib
didn’t make drastic changes to his lifestyle, there might not be a life to speak
of. So he quit drinking, stopped touring, and took an indefinite hiatus from the
studio. But eventually, the desire to create songs slowly returned.
What would eventually become El Khatib’s fifth studio album, the virtuosic
but characteristically raw FLIGHT began as spontaneous experimentation.
Over the last several years, El Khatib had become close friends with Leon
Michels, best known as the mastermind of the soul controllers, the El Michels
Affair, but who has also quietly racked up producer credits for the likes of pop
juggernauts like Lana Del Rey, Rick Ross, Travis Scott, A$AP Rocky, and
Eminem -- as well as frequently working in sessions with Grammy-winning
super-producer Mark Ronson. The finished result is a rollicking sampledelic
opus that recalls the beautiful chaos that the Dust Brothers created on Paul’s
Boutique and Odelay. It’s the type of thing that Dilla and Madlib would’ve
created if they had come up on The Cramps.
The irony, of course, is that for a record that sounds like little else El Khatib
has ever done, it’s the most complete embodiment of who he is as an artist.
It’s a record both dense and intricate yet direct and spontaneous. It is garage
rock, it is hip-hop, it is soul, it is blues, it is psychedelic, but more than
anything, it’s a brilliant Hanni El Khatib record -- one that taps into the adolescent spirit of creation that first stirred him to make songs in the first place.
Here he is on his fifth album, back for the first time.

Chaotic Good is J. Warren’s fifth full-length album and first for Wax Nine/Carpark Records. It represents a moment of rupture in the singer-songwriter’s career as she transitions away from the quiet, folk-adjacent work that defined her early solo albums with a bold statement piece that demonstrates the breadth of her ambition.

Roza Eskenazi was a giant of rembetika, the urban Greek music of Ottoman origin associated with the poor underclass. Eskenazi’s life was extraordinary: born Sarah Spinazi to a poor Sephardic Jewish family in Constantinople, probably in the mid-1890s, after an itinerant childhood, she began dancing at the Grand Hotel Theatre in Thessaloniki. She eloped with the wealthy Yiannis Zardinidis around 1913, with whom she bore a son, but after his untimely death in 1917, she placed the son in the care of an orphanage and moved to Athens, where she danced with Armenian cabaret artists. Eventually, the composer Panagiotis Toundas discovered her singing and arranged her first recordings for Columbia Records in 1929, which catapulted her to fame. Cutting over 500 songs in the 1930s, she became the leading exponent of the Smyrna school of rembetika. Running a nightclub in Athens during the German occupation of World War II, she hid resistance fighters and British spies and helped many Jewish families flee the country. She finally toured the USA in the 1950s, and though her career subsequently waned, a 1970s revival led to further work. The longevity of her output is such that her song Misirlu was included on the soundtrack of Pulp Fiction; the 21 gems collected here were recorded between 1931 and 1947.