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LP
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NA 6103LP
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$25.00
PREORDER
RELEASE DATE: 10/9/2020
Opaque red vinyl version. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."
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CD
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NA 5194CD
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$16.00
PREORDER
RELEASE DATE: 10/9/2020
"Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Tewedije Limut gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases."
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LP
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NA 5194LP
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$26.00
PREORDER
RELEASE DATE: 10/9/2020
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CD
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NA 5192CD
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$16.00
PREORDER
RELEASE DATE: 9/25/2020
"Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Che Belew gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases."
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LP
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NA 5192LP
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$26.00
PREORDER
RELEASE DATE: 9/25/2020
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CD
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NA 5191CD
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"Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases."
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LP
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NA 5191LP
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LP version. "Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases."
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CD
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NA 5119CD
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"This album is the Rosetta Stone of funk's dominant idioms, yet its existence has barely been a rumor. In 1970 James Brown perfectly captured a definitive moment in modern music when he ordered Bootsy Collins into the studio to record the tracks that would be test pressed on King Records as These Are The J.B.'s. This album is the epitome of funk music, Brown's innovation that influenced everything that came after it, from Afro-beat to disco to hip-hop. And if there is any funk ensemble as influential as Brown's, in the post-'Cold Sweat' musical landscape, it's the Parliament/Funkadelic contingent. Those two streams, as Grammy Winning James Brown historian Alan Leeds details in this album's liner notes, converged for the first time here. This link between Brown's funk and all that followed features Bootsy and his young band running through twelve-minute instrumental take of Marva Whitney's 'It's My Thing,' replete with blues chord changes, alongside interpretations of the Meters, Kool and the Gang and none other than Jimi Hendrix. This is a young band's James Brown-turned-on-his-head style of funk that they nail in a one-minute vamp that pre-dates their obscure but important work as the Houseguests ensemble and embodies the essence of the psychedelic-flavored music that would propel them into the orbit of George Clinton and his mothership, where they poked cosmic holes in funk's polyrhythmic ozone layer in the mid-1970s. There are only two extant copies of the original King Records test press LP of These Are The J.B.'s. The first commercial issue of this album, was overseen by Now-Again's Egon alongside Leeds and Universal Music Group's James Brown expert Harry Weinger. It was mastered specifically for vinyl by Elysian Master's Dave Cooley from the original two-track stereo master that James Brown and his engineer Ron Lenhoff delivered to production forty-four years ago."
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5LP BOX
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NA 5198LP
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"These are Now-Again's definitive reissues five classic spiritual jazz and funk albums from DC's legendary Black Fire record label. Limited edition, one time pressing in an obi-wrapped 'box set.' Each album includes oversized booklet with extensive liner notes and rare photos. Lacquered, most directly from master tape, by legendary Los Angeles mastering engineer Bernie Grundman. Packaged in a thick, tip-on sleeve and includes a unique, oversize booklet with extensive notes on each album, the Black Fire collective, and the musical and cultural revolution they created. Includes Juju - Live at the East 1973, Experience Unlimited - Free Yourself, Juju - Charter Two: NIA, Oneness of Juju - Space Jungle Luv, Oneness of Juju - African Rhythms."
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CD
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NA 5195CD
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"Prelúdio is the third album Now-Again Records will issue from the thrilling, young Brazilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento's longtime drummer Ricardo 'Tiki' Pasillas. It is the first album of solely do Nascimento's own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brazilian music, Brazilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-father Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade's band Bom de Três. While he came from a musical pedigree, he's largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continues to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira. Moreiera states that Nascimento is 'Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that's the most important thing in music. The energy. That's why I love to play live. And that's why I'm playing with Fabiano.'"
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LP
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NA 5195LP
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LP version. "Prelúdio is the third album Now-Again Records will issue from the thrilling, young Brazilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento's longtime drummer Ricardo 'Tiki' Pasillas. It is the first album of solely do Nascimento's own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brazilian music, Brazilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-father Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade's band Bom de Três. While he came from a musical pedigree, he's largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continues to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira. Moreiera states that Nascimento is 'Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that's the most important thing in music. The energy. That's why I love to play live. And that's why I'm playing with Fabiano.'"
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CD
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NA 5204CD
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"Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins' tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his group's chances at making it on its own, and Let's Talk is the sublime result of their hard work. Independently released and recorded with a distinctly lo-fi charm, it is a collection of unabashedly sincere songs that perfectly encapsulates the era's heady milieu of Black pride and cultural awareness, and the plaintive emotion of struggling to realize dreams whilst navigating a city and neighborhood in decline. Personal tragedy coupled with Jenkins' inability to gain traction as a musician, would haunt him for years. But Let's Talk's reputation would eventually spread via word-of-mouth praise amongst soul and funk connoisseurs and record collectors. Now elevated to exalted status, it may finally be more widely appreciated as a testament to Jenkins' gifts."
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LP
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NA 5204LP
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LP version. "Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins' tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his group's chances at making it on its own, and Let's Talk is the sublime result of their hard work. Independently released and recorded with a distinctly lo-fi charm, it is a collection of unabashedly sincere songs that perfectly encapsulates the era's heady milieu of Black pride and cultural awareness, and the plaintive emotion of struggling to realize dreams whilst navigating a city and neighborhood in decline. Personal tragedy coupled with Jenkins' inability to gain traction as a musician, would haunt him for years. But Let's Talk's reputation would eventually spread via word-of-mouth praise amongst soul and funk connoisseurs and record collectors. Now elevated to exalted status, it may finally be more widely appreciated as a testament to Jenkins' gifts."
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LP
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NA 5176LP
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"The go-go band's sought after debut album. Enriched funk. Magical, mystical, Afrocentric, progressive --words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness Of Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, with this set, Oneness Of Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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CD
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NAML 011CD
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"Chicago beatsmith Maker returns for another volley into the Now-Again Music Library series with his first album to include vocal performances. From well known indie-vets like Bishop Lamont and Guilty Simpson to less known but talented vocalists like Adeem and PremRock -- Maker's beats -- all based on samples from the Now-Again Catalog -- surround them all with swirling pastiches of soul, funk, jazz, rock and music from all over the globe."
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LP
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NA 5179LP
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"Magical, mystical, Afrocentric, progressive -- words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor, and, finally, record label owner. Together with Oneness of Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles: all were lacquered -- most directly from master tape -- by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. Its cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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2CD
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NA 5197CD
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"These songs, found on reels that Marks kept in his home, color Marks' stylistic development -- from his earliest work for the legendary Tuska label in the late '60s, through his more mature releases on smaller regional labels into the late '70s. Marks' story is that of an unsung soul and funk hero; he was a guitarist, vocalist and songwriter whose phone number was in Al Green's, Barry White's and Eddie Kendricks' rolodexes, but his talents have only been heard in sporadic bursts. He and his music are unknown to the majority, but to an obsessive minority, he is a lightning rod: that singular point at which numerous Southern soul and funk musicians converged and exploded, spreading wondrous music in all directions. Marks died of cancer in May 2006. His first album was our Never Satisfied anthology, released posthumously. He stands out as a most mysterious talent to originate from Atlanta, a city that birthed no shortage of genius, and Love Is Gone: The Lost Sessions 1969-1977 further makes the case for a reassessment of his talents and his place in the soul and funk canon."
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2LP
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NA 5197LP
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Double LP version. "These songs, found on reels that Marks kept in his home, color Marks' stylistic development -- from his earliest work for the legendary Tuska label in the late '60s, through his more mature releases on smaller regional labels into the late '70s. Marks' story is that of an unsung soul and funk hero; he was a guitarist, vocalist and songwriter whose phone number was in Al Green's, Barry White's and Eddie Kendricks' rolodexes, but his talents have only been heard in sporadic bursts. He and his music are unknown to the majority, but to an obsessive minority, he is a lightning rod: that singular point at which numerous Southern soul and funk musicians converged and exploded, spreading wondrous music in all directions. Marks died of cancer in May 2006. His first album was our Never Satisfied anthology, released posthumously. He stands out as a most mysterious talent to originate from Atlanta, a city that birthed no shortage of genius, and Love Is Gone: The Lost Sessions 1969-1977 further makes the case for a reassessment of his talents and his place in the soul and funk canon."
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NA 5177LP
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"Magical, mystical, Afrocentric, progressive -- words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape -- by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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NA 5175LP
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"Essential spiritual jazz originally issued on the lauded Strata-East label. Magical, mystical, Afrocentric, progressive -- words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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NA 5178LP
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"Now-Again Records presents limited edition deluxe reissues of the lauded black fire catalog in 2020. First up in the series, this previously unreleased live session recorded at the legendary Brooklyn venue The East in 1973. Magical, mystical, Afrocentric, progressive -- words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape -- by legendary Los Angeles mastering engineer Bernie Grundman. With this set, Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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2CD
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NA 5190CD
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"Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s -- some under his own name, some under that of his collaborators -- out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid-1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk. Now-Again's Egon first discovered Reese's music on a 24 lock-in in Concord, North Carolina's legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese's songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese's music on the Now-Again anthology Loving On The Flipside. Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Long time Now-Again associate Kenny Dope presents a remix of the song 'Throwing Stones', and Now-Again mastering engineer Jason Bitner presents alternate mixes of various cuts. These mixes included as a bonus CD version, which also comes bundled with an extensive booklet detailing the trajectory of Reese and his band."
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NA 5190LP
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LP version. Includes download card for WAV files included with the LP. "Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s -- some under his own name, some under that of his collaborators -- out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid-1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk. Now-Again's Egon first discovered Reese's music on a 24 lock-in in Concord, North Carolina's legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese's songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese's music on the Now-Again anthology Loving On The Flipside. Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Long time Now-Again associate Kenny Dope presents a remix of the song 'Throwing Stones', and Now-Again mastering engineer Jason Bitner presents alternate mixes of various cuts."
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CD
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NA 5196CD
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"Platinum recording artist and unapologetic soul singer Eamon is set to release his new album Captive Thoughts on Now-Again Records. After his ambitious and critically acclaimed 2017 album Golden Rail Motel, Eamon's new record feels like an even deeper expression of the lost art of the singer's ability to make the listener feel every single lyric. 'Simply put, I'm singing every note as if my life depends on it' says Eamon through a thick Staten Island accent that hasn't faded since relocating to Los Angeles. Now-Again Records was so impressed with Eamon's Golden Rail Motel that they approached the singer and offered him a unique deal: he could comb through their vast catalog of songs from the 60's and 70's in order to sample music to create an album of his own. At first working with Stoupe, the producer from legendary hip hop group Jedi Mind Tricks, Eamon would stay up late into the night sifting through sample upon sample in search of the perfect fit for the album. Eamon then approached his steadfast producers Benj Heard and Snipe Young with seven songs to tackle together. The end result was something fresh and forward looking but also a throwback to the golden era of soul music. While many will remember Eamon for his groundbreaking song 'Fuck It (I Don't Want You Back)', the music he has recorded since his comeback from his decade-long hiatus represent the evolution from a controversial kid to a dynamic and respected artist. Captive Thoughts channels Eamon's childhood performing in his father's doo wop group, his immersion in 1990's New York hip hop, his obsession of classic soul music, and the intense lyricism and performances of Golden Rail Motel into one, cohesive album that is capable of moving the listener in unexpected ways. Eamon's voice communicates the highs and lows of being human with his unforgettable style. This record, like the songs it samples, is here to stay."
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LP
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NA 5183LP
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2020 restock. "Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents' desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he'd first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller's conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like 'Tuareg African music is blues, just with no chord changes.' Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he'd cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school's practice rooms. Despite Lloyd's professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution."
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