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This recording was made on November 5, 2007 at the Christuskirche in Mannheim, Germany, during the Enjoy Jazz Festival. It was on a Sunday, on September 19, 1993 to be exact, that Charlie Haden heard Brad Mehldau for the first time. Charlie and I were walking through the halls of the Hidden Valley Resort located in the Laurel Mountains in southwest Pennsylvania. The resort was sponsoring a jazz festival and Charlie had just finished an interview after which we needed to get back to the hotel room in order to prepare for Charlie’s sound-check and concert that night. As we hurried through the hall, one could hear, from behind the closed doors of the auditorium we passed, the sounds of a concert in progress,

Now, Charlie had the biggest ears of anyone in jazz, and while we were walking and talking, Charlie came to a sudden halt and said, “Shhh!"

His eyes opened wide as he crept to the door to listen. Someone was taking a solo. He said to me, "I have to go in and listen." We entered the auditorium and stood at the back to listen to the rest of the concert. It was Joshua Redman’s band with Joshua Redman, Brad Mehldau, Christian McBride and Brian Blade who, together, in 1994 recorded Joshua’s album Moodswing.

Once the concert was finished Charlie strode to the stage to greet the guys and to speak directly to the young pianist. It was Brad Mehldau who had taken that solo. They spoke for some time, and when Charlie came back to me, he said, “That pianist is brilliant. He is special, so unique.” Charlie would later go on to pronounce Brad one of the most important musicians of his generation because of his unique voice, his depth of knowledge of and facility on the instrument, and how he has moved the language of jazz forward.

Eventually, in 1996, Charlie found a way to bring Brad out to LA to perform with Lee Konitz and him at the Jazz Bakery. This led to a trio recording on Blue Note (1997) called Alone Together. In 2011, he and Brad recorded a live album with Lee Konitz, and Paul Motian for ECM called Live at Birdland. Brad and Charlie remained friends from the time of their first meeting. They had a special connection. In the early days, Charlie, in a sense, mentored this young pianist in life lessons. Personally, I think he saw a bit of himself in this young brilliant player.

The two musicians, however, had never had the chance to perform on stage in duo when, in 2007, Rainer Kern, the director of the Enjoy Jazz Festival in the Heidelberg region of Germany, invited Charlie and Brad to play a duet concert at a beautiful church, the Christuskirche in Mannheim. This was a rare opportunity for the two of them to have a musical dialogue and they both eagerly agreed. Rainer had asked to record the concert but the two artists said an emphatic, “No!” I, however, had a feeling about this concert and was able to talk the two musicians into relenting as Rainer graciously agreed to let us own the tapes. For contractual reasons regarding both musicians, the recording could not be released until now. Charlie listened to the tape often and dearly wanted to release it at some point. I am forever grateful to Rainer Kern for allowing us to record and own the work. As a result we have a dazzling testament to the interaction between two genius musicians: piano and bass, their brilliance resounding through the hallowed space of an art nouveau cathedral, recorded on November 5, 2007.

I must thank, first and foremost, Charlie Haden and Brad Mehldau for their transcendent performances and the devotion they show to the music. A special thanks to Brad Mehldau for being such a wonderful partner throughout this entire project. I must thank our friend, Rainer Kern for organizing this concert, and acknowledge the Enjoy Jazz Festival team for its support. Thank-you Jean-Philippe Allard for believing in the music and agreeing to release this recording on Universal Music, France. JP has been a great friend to Charlie’s music for many years.

It took a lot more people to make this recording happen as several parties had to agree thus many thanks to the hard work our lawyers put in to bring this project to fruition: Fred Ansis of Reed Smith LLP, Paul Bezilla of Fox Rothschild LLP, Valerie Foray and Christelle D’Almeida of Universal Music, Scott Southard and Tom Korkidis of IMN, Nanette Monton of Warner Bros. Records Inc, Bob Hurwitz, Nonesuch Records. Additional thanks to our friends, Farida Bachir, Jenny Defaut, Pascal Bod and Nicolas Pflug of Universal Music, France.

One of the most important aspects of recording is mixing and mastering. Charlie and I have worked with the recording engineer ,Jay Newland, for many years and he, again, worked his magic, bringing us the full experience of this live recording despite the inherent difficulties of such a recording taking place in an echo-resounding cathedral. Thank-you, Jay, for your incredible ears and skill. Many thanks to our mastering engineer, Mark Wilder of Battery Studios for his dedication to sound and his understanding that “Jazz is more than notes on a piece of paper.” Many thanks to Joe D’Ambrosio for facilitating the mixing and mastering process.

I need to mention the cover art. The painting was done by a friend of Charlie’s and mine, the Dutch-American painter, Luc Leestemaker who passed away in 2012. He had a timeless poetic style that Charlie and I really loved. Luc revered Charlie’s music, and we revered Luc’s paintings. We also used one of his paintings for the cover of Charlie’s album Land of the Sun. It feels good that Luc and Charlie get to do a project together again.

Charlie is gone now, and this recording was made “long ago and far away”, yet the music remains immediate. The music is now.

Ruth Cameron Haden, Los Angeles, California, July 2018

The sequel to Pastor Barrett’s landmark 1971 masterpiece Like A Ship…, Do Not Pass Me By finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-piece choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, Do Not Pass Me By was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: “After listening to this album you will be glad that you did not pass it by!”

Saar Records, through its famous Music subsidiary, re-releases the second Chet Baker’s LP, recorded with his sextet and quartet and originally released in March 1960; one of the rare occasions for our musicians to team together with an American trumpet player for a rather long period.

Chet Baker is one of the most important and essential characters of modern jazz and over the years he has not lost his strength and colour, a fact that’s clearly demonstrated by this release, indeed showing us a quite different Chet Baker. His style has become less slender, more excited, more precise, more violent, and several tracks of this record prove it.

The musicians here accompanying Chet Baker are the very best the Italian jazz scene of the time could offer: Glauco Masetti on alto sax, Gianni Basso on tenor sax, Renato Sellani on piano, Franco Cerri on double bass, together with the Italian-American Gene Victory on drums. As usual in such situations, arrangements were entrusted to Giulio Libano, who wisely provided the musicians with ample space for their solos. Chet Baker is undoubtedly the protagonist, but a lot of freedom of expression is granted to his fellow adventurers.

The album was recorded on 25 and 26 September and on 6 October 1959 at the Guertler Bros studio.

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

The final album in Pastor T.L.Barrett's 1970s four-part suiteof gospel funk LPs, Do Not PassMe By finds the fiery preachergetting spaced out on God's love.Accompanied by his Youth ForChrist Choir, the eight-songrecord is buoyed by the sevenminute opus "Father Stretch MyHands," later sampled by KanyeWest on 2016's The Life of Pablo.

Bird Moves is the jazz offspring of the German band Noetics. Originally founded as a classical formation devoted to jazz, the members quickly explored its related styles. Without genre restrictions Bird Moves are mixing Jazz with anything from Funk to Dub and had their debut release on Agogo Records.

For this single they recorded two amazing new songs. »Easebound« is a groovy-breezy laid-back tune while late night cruising, slowing down or just daydreaming. On the flip you'll get an afro-tingled mid-tempo track named »Kakra Kakra«.

Komos presents Soul Unity by Byard Lancaster.'From Sex Machine to A Love Supreme’ was Byard Lancaster’s musical motto. The saxophonist and flutist from Philadelphia has released cult albums under his own name from the late 60's until his death in 2012 and features on recordings from Larry Young, Doug Hammond, Sunny Murray among other major jazz musicians. He also co-founded the mythical band Sounds of Liberation with his friends Khan Jamal and Monnette Sudler. Soul Unity is a devotional journey through Great Black Music, from Africa to Coltrane, from Spirituals to Now, searching for the Source behind the forms. It features Byard Lancaster's close friends Khan Jamal from ‘Sounds of Liberation’, Keno Speller from ‘Lafayette Afro-Rock Band’, Alfie Pollitt, former musical director for Teddy Pendergrass and Men On A Mission, a Gospel quartet. Produced by Antoine Rajon, now A&R of Komos, it was recorded in one take on a sunny Saturday afternoon of 2005 in Philadelphia at Morning Star Studios. First vinyl edition, remastered and cut by Frank Merritt at The Carvery.

Favorite Recordings proudly presents a reissue of the first and eponymous LP by Esperanto, a Venezuelan JazzFusion masterpiece originally released in 1980. This rare and sought-after album recorded in Caracas by talented musicians could be likened to the best of the South American scene with strong Funk & Latin influences. Following the recent reissue of Sacbé, this one is a little wonder and a must-have for anyone interested in Latin Jazz-Funk & Fusion. Fully remastered and available as Gatefold Tip-On Vinyl LP and CD. Like most bands, the story first started as a series of jam sessions. Multi-instrumentist Jorge Aguilar and his drummer Pablo Matarazzo were playing in a band, covering a various number of Latin genres from Merengue to Salsa and playing at parties, even though they were mostly influenced by Jazz or Funk, but also British Rock or Brazilian music. Still, they were dreaming about a real band. Thus, while some of their friends were on vacations in Venezuela during their studies at Music school in Boston and New York, they immediately organized jam sessions. First impros luickly became songs and Pablo and Jorge were finally joined by Roldan Peña, Gustavo Arranguren, Ezequiel Serrano, Marcus Vinicius and Nenè Quintero. With the help of a friend, they recorded songs and brought those tracks to radio stations. Without realizing it, the group gained a certain notoriety in Caracas and began to give shows that became quite famous. Sometimes, they had to play two times in the same night with people still waiting outside! With the money earned, they kept recording their songs but now in a quite better studio. The album was taking its final shape, with an exciting blend of Funk, Fusion and Jazz-Rock elements, all mixed with Latin music influences. With an extensive use of synthesizers, the tracks sounded like a fresh wind blowing over the city of Caracas. After bringing a few friends to record their parts, the album was then offered to CBS for distribution – some of their executives had just become fans after experiencing one of their amazing gigs! But in exchange, they also had to record two more commercial songs, a cover of "Ticket To Ride" by The Beatles, and “Vereda Tropical", a classic in the Latin market. Jorge reminds: "The rest of the songs were compositions by myself and by other members of the band. The album was recorded in its entirety almost live, that is, all of us playing together and without many overdubs because we did not have many tracks nor money to pay studio time. Certainly, we were one of the bands that started the Fusion jazz movement in Venezuela and the most recognized because we managed to be played a lot on the radios and we filled the largest number of concerts as well as obtained the largest number of sales". The band kept recording other albums, notably with Warner Bros after the label was again really impressed by their opening show for Peter Frampton Comes Alive Tour one night in Caracas. Jorge adds: "Today if you ask people around 60 years old in Venezuela about a Fusion group, they will tell you that Esperanto is the band they remember! I think the most significant thing about the Esperanto band is that it was quite naïve since we were all in our early 20s and we did everything just for the pleasure of playing without thinking about the conomic aspects of the industry".

Cloudy pink translucent vinyl!

White vinyl!

Following on from the standout D.J. Rogers release, South Street Disco turn their sights to reissuing two seminal and much sought after ‘70s jazz funk Loft classics. One side houses Miroslav Vitouš’ cosmic disco delight ‘New York City’, the other uncovers the Latin infused whirlwind ‘Whistle Bump’ from Eumir Deodato.
First up the Czech jazz bassist and founding member of Weather Report, Miroslav Vitouš, supplies the infectious vibrations of ‘New York City’. Harnessing the spirit of the bubbling NYC underground club scene of the mid ‘70s, Vitous lays down a proto Arthur Russell flavoured jam, that blends whirling new-wave-esque vocals and brazen basslines over trademark cosmic keys from the master, Herbie Hancock. Combined with tight drumming and fiery, overdriven riffs it paved the way for this to become a dancefloor hit and a clear precursor to the early house scene. With originals trading hands for £120+ it’s high time ‘New York City’ got an official remastered reissue.
On the flip side, a timeless Brazilian instrumental jazz-funk gem from Eumir Deodato that likewise became a certified classic through heavy rotations on New York’s revered dancefloors, most notably via David Mancuso at The Loft. Feel good feelings amplified by spirited Rhodes, psychedelic strumming and that sure-fire Latin infused bongo / whistle carnival combo. Carefree, unbridled energy that sees Pops Popwell’s funk bass perfectly accompanying blazing guitar solos and a horn section from heaven, it’s impossible not to get down to. Pure South American sunshine bottled up and ready to be supplied at will.

Saar Records, through its famous Music subsidiary, re-releases the second Chet Baker's LP, recorded with his sextet and quartet and originally released in March 1960; one of the rare occasions for our musicians to team together with an American trumpet player for a rather long period.

Chet Baker is one of the most important and essential characters of modern jazz and over the years he has not lost his strength and colour, a fact that's clearly demonstrated by this release, indeed showing us a quite different Chet Baker. His style has become less slender, more excited, more precise, more violent, and several tracks of this record prove it.

The musicians here accompanying Chet Baker are the very best the Italian jazz scene of the time could offer: Glauco Masetti on alto sax, Gianni Basso on tenor sax, Renato Sellani on piano, Franco Cerri on double bass, together with the Italian-American Gene Victory on drums. As usual in such situations, arrangements were entrusted to Giulio Libano, who wisely provided the musicians with ample space for their solos. Chet Baker is undoubtedly the protagonist, but a lot of freedom of expression is granted to his fellow adventurers.

The album was recorded on 25 and 26 September and on 6 October 1959 at the Guertler Bros studio.

The lyricism of Chet Baker cannot be doubted because Chet in his musical expressions remains as singer and musicians essentially romantic. He fits beautifully into a context created around him and for him, a context that finds in the sonority of his trumpet or in the opacity of his voice a leading element, dominator and at the same time attractive and fascinating.

The songs on this record are aimed to everyone: jazz fans and those who are not very familiar with jazz. For music arrangers Ezio Leoni and Giulio Libano the work ground with Chet has been smoothed out: there was no need to build beyond the measure, it was important to expand, enhance, galvanize what Chet wanted to express. They have alternated lyrical songs with more stringent and alive tracks. With the continuous alternation of times, expressions and atmospheres they made sure to avoid any monotony.

The orchestra that recorded the album was consisted of 16 violins, 4 violas, 4 cellos, a flute, a bass clarinet, an oboe, a French horn, a harp which matched with Glauco Massetti's alto sax, Fausto Papetti's baritone sax, Mario Pezzotta's trombone, Gianni Basso's tenor sax, Franco Cerri's double bass, Gene Victory's drums. An imposing orchestra that was able to mix perfectly and alternate purely jazzy instruments with strings during the performances.

The repertoire included in the album ranges a lot: from well-known motifs such as 'Angel Eyes', 'When I Fall In Love' or 'I Should Care', to others less known but very pleasant tracks as 'The Song Is You' or
'Forgetful'. Other tracks lend themselves perfectly to a wider orchestration such as 'Autumn In New York', 'Violets for Your Fur' or 'Deep in A Dream'. Another theme was treated with a thrifty intervention of the strings, almost a crown of the whole performance, represented by the recording 'Street of Dreams'. In the last track “Good-bye” of Side “A” Chet expresses an exceptional sadness in a very valid and unusual way.

The tracks were recorded on September 28, 1958 and October 5, 1959 at the Guertler Bros. recording
studio.The tracks were recorded on September 28, 1958 and October 5, 1959 at the Guertler Bros. studio

Vinyl close to NM

Cellist Fred Katz is best remembered as a sideman with the Chico Hamilton Quintet, Paul Horn, and Pete Rugolo, though on this famous, long unavailable record of his own, he serves as conductor and arranger rather than player. Folk Songs for Far Out Folk consists of his tantalizing, imaginative adaptations of African, Hebrew, and American folk tunes. The musical cast varies with each group of selections. The three African songs, highlighted by the explosive "Mate'ka," include trumpeters Pete Candoli, Don Fagerquist, and Irving Goodman, with a six-man percussion section that features Larry Bunker and Nat King Cole sideman Jack Costanzo. Four American songs include treatment of "Sometimes I Feel Like a Motherless Child" that alternates between brooding and upbeat cool, with vibraphonist Gene Estes, pianist Johnny Williams, and guitarist Billy Bean lending a hand. The two Hebrew songs focus on reeds exclusively (excepting Mel Pollen's bass). The playful setting of "Ray's Nigun" showcases Justin Gordon on bass clarinet with Paul Horn and Buddy Collette providing whimsical accompaniment on flutes. This CD reissue by Reboot Stereophonic expands considerably on the original Warner Bros. LP, adding updated liner notes and photos of Katz in addition to reproducing the original notes and poetry that were part of the original package. Highly recommended. (all music guide).

Recorded at the Philharmonie Berlin, November 1, 1974. Source: Master tape from the private archive of Jasper van ’t Hof
Master digitized at Studio JDM Amsterdam by Frank Jochemsen
Edited & mastered by Marc Broer at Live Concert Recording Monnickendam
Release initiated by P-Dog & Zembie and produced by Frank Jochemsen (Gallio producties), Jasper van ’t Hof & Sander Huibers for 678 Records
Succesfully distributed by Sander Huibers for Painted Dog Records
Grafische verzorging: Piet Schreuders

It’s a big one. Americana disco wizards the Flying Mojito Bros have worked their magic on Rudy Norman’s cult AOR track, and in so doing have, in the words of Rudy himself, “brought Back To The Streets to the future”.

For the first time, Back To The Streets (1980) finds itself remastered on 12” vinyl alongside official remixes commissioned by the artist, in a welcome new package that will please lovers of glistening disco reworks as well as those seeking a vinyl copy of the original track. The sun-baked electronic disco ‘refritos’ arrive in three versions to suit all occasions – straight up, extended dub and radio edit – and no doubt have the potential to resonate with the huge worldwide desire to get back out there and bond meaningfully with our fellow brothers and sisters in public.

It looks the part too, with Flying Mojito Bros also directing a colourful and cosmic reimagining of the original cover art via illustrator Nick Potts, reflecting the bros’ transportation of Rudy’s West Coast vibes into one of their own Southwestern desertscape settings.

For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.

Recorded in 1955 for Tom Wilson’s Transition label, "Byrd’s Eye View" was Donald Byrd’s first issued album as a leader featuring the trumpeter at the helm of the line-up of The Jazz Messengers with Hank Mobley, Horace Silver, Doug Watkins, and Art Blakey plus trumpeter Joe Gordon on several tracks. "Byrd’s Eye View" is the first of three reissues from the Transition catalogue that will be released as part of the Tone Poet series in 2023, presented in a single sleeve with a booklet.



BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket. With Booklet.

Two break beat gems from the Flying Dutchman catalogue. First-time reissue of the 7-inch edit of ‘Mama Soul’, whilst Pretty Purdie’s ‘Heavy Soul Slinger’ gets its 7-inch debut.

»They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well-served in Paris.« (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France … The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the "Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, "Dear Old Stockholm", adapted from a Swedish traditional song; on "Flute Blues", Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like "The Blues Walk"? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…

Back in 1968 a pair of Germanic behind-the-scenes sound librarians called Horst Ackermann and Heribert Thusek left a tiny, but indelible, pinprick on the history of German Pop in the misshaped form of a sexy horror cash-in concept album called Dracula’s Music Cabinet. Shelved at a micro-cosmic axis where Krautrock meets lesbian vampire Horrortica and easy listening meets psychedelia the delayed reaction of this mutant concoction eventually exploded in the mid-1990s in the hands of a generation of ‘record diggers’ sending currencycrushing tremors through the wallets of mods, rockers, hip hoppers, psych nuts and kraut kompletists around the plastic-pillaging planet. The vinyl junkies had resurrected a monster, but, like addicts do, they ravenously sucked it dry and moved on looking for the next fix to feed their habit. Luckily for some, Ackermann and Thusek were also creatures of habit. And it wouldn’t take a genius to figure out that they were holding the next dose, but by the turn of the millennium the mad scientists had been given a thirty-five-year head start on the pop archeologists and their mythical sequel was literally light-years ahead of their previous draconian installment... Encouragingly the unclosed cabinet left a shiny white clue in the form of it’s closing track Frankenstein Meets Alpha 7... Perhaps space was the place. Always read the label. The Ackermann and Thusek duo were far from dynamic. They were undercover agents hiding behind user-friendly mock-rock monikers and, like most B-Musicians, the only way to sniff them out would be to read the small print. But when an unidentified record on an unknown label with a title like Science Fiction Dance Partycrops up in the Eins Deutschmark crates it’s not exactly rocket science - although the track titles might suggest otherwise. The End Of A Robot, Monster On Saturn 1, Galactic Adventures Of The Outer Space Fleet , The Whistling Astronauts, Death Rays Out Of The Universe’.. The telltale signs are all there and if that vintage psycoplasmodic Colored Vinyl doesn’t clench the deal then what will. When rumours about a space-age follow-up to Dracula’s Music Cabinet hit the straße Deutsche-o-phile diggers fingers started twitching nervously