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LP
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CADIZ 207LP
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LP version. Pink vinyl. "The eagerly awaited Next Is Now was recorded and produced by Youth (Killing Joke, The Orb, Paul McCartney) and features ten brand new tracks, including lead single 'Saturday Afternoon'. Says Goldman, 'Quite a turn-up to be making my first album now, specially with my dear bred'ren Youth at the controls. I found I had lots to sing about and my voice has improved! The music scene is not the boystown cockocracy it was when I recorded 'Launderette' in the early 1980s post-punk days. Punk had already started to shift things. Though the struggles continue, I am glad to be among those feeling the benefits of women being heard more loudly. The issues I sang about back then still concern us now; but now all the 'isms' are pumped up like they are on steroids and the stakes feel even higher. So it could not have been a better time for me to make my first ever album, specially as Youth and I do share that punky reggae dub-matic aesthetic, for life.'"
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CD
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CADIZ 206CD
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"The eagerly awaited Next Is Now was recorded and produced by Youth (Killing Joke, The Orb, Paul McCartney) and features ten brand new tracks, including lead single 'Saturday Afternoon'. Says Goldman, 'Quite a turn-up to be making my first album now, specially with my dear bred'ren Youth at the controls. I found I had lots to sing about and my voice has improved! The music scene is not the boystown cockocracy it was when I recorded 'Launderette' in the early 1980s post-punk days. Punk had already started to shift things. Though the struggles continue, I am glad to be among those feeling the benefits of women being heard more loudly. The issues I sang about back then still concern us now; but now all the 'isms' are pumped up like they are on steroids and the stakes feel even higher. So it could not have been a better time for me to make my first ever album, specially as Youth and I do share that punky reggae dub-matic aesthetic, for life.'"
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7"
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STAUB 155EP
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First-ever reissue of Vivien Goldman's legendary Launderette 7", produced with Adrian Sherwood and Public Image Limited's John Lydon and Keith Levene in 1981. The contrast between Vivien's high, lilting tones and the deep rumble of the bass is a hallmark of all Goldman's work, giving a haunting frisson of sex and alienation to songs like "Launderette", which was produced with PiL's John Lydon and Keith Levene. Vivien knew John as a fellow reggae fanatic, and he let her use PiL's studio down time to cut "Launderette", a song she had improvised over a bass line by Aswad's George "Levi" Oban. Bass is also the foundation of the angry anthem "Private Armies", a favorite of Rock Against Racism, here available in its long album version. "Girls love bass," Goldman says. "It's the yang to our yin. Women really respond to the depth and grounding of bass." Limited one-off pressing of 500.
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CD
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STAUB 141CD
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There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.
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LP
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STAUB 141LP
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2023 repress; LP version. There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.
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