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PNY 33021LP
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"Working with La Batteria was one of those rare cases in which, before anything else, we avoided the chance of working in terms of functional music, and we rather chose to focus on composition. The idea was about writing music which could have an influence on the film narrative, sometimes fueling it, or directing it, and hopefully making it unique and valuable." --Alex Infascelli
This is how the director describes his collaboration with La Batteria for the soundtrack of the documentary Kill Me If You Can. This was certainly a special collaboration since Infascelli himself is a musician and therefore it was possible to establish a deep and fully aware exchange. Rather than setting the already edited film to music, you chose to follow an "old-fashioned" approach. Starting from an initial exchange with the director, the band composed a good number of tracks, and the film was then directly edited with the music. An unusual process that created a deep connection between music and the story itself. From a stylistic point of view, the original music follows two main directions: on the one hand there's the more melodic material dominated by choirs and acoustic instruments which explicitly refer to the great Italian film music tradition; while on the other you have the electronic soundwork, mostly produced through the use of analog synthesizers. As always, the group made use of a wide and eclectic range of instruments, and also involved two guest musicians: vocalist Davide Savarese and cellist Kyung Mi Lee. The music, produced by La Batteria, was recorded and mixed by Paolo Pecorelli at Studiosette (Rome), and was mastered by Danilo Silvestri. In addition to the twelve unreleased tracks, the soundtrack also includes two tracks ("Lightless", "Crepuscular") from La Batteria's album Notes in the Dark (Deneb/Flipper 2020).
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PNY 33022LP
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Ghost Producer aka Badawi (aka Raz Mesinai, aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist whom has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a massive catalog of genre-defying albums. Ghost Producer released his first albums starting in the late '80s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC, he produced, on average, at least one album per week since 1988 till present day. One of the twenty or so monikers was "Badawi", later being signed to ROIR Records and releasing the seminal experimental dub, punk albums Bedouin Sound Clash and later The Heretic of Ether on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the '70s and '80s informed Ghost Producer's singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer and rappers Danny Brown and Skepta and Double D, among many others. At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from "Studio We" and the Free Jazz Loft Movement in NYC in the '60s and '70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall and Lincoln Center. Ghost Producer has released several albums on John Zorn's Tzadik label. As a composer for film, he coined the term "score design" to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet, The Fountain, Black Swan, and The Wrestler, Black Hawk Down, and more. In 2014, he was awarded as a fellow in the Sundance Composers Lab. The Book of Jinn, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice), and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.
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PNY 010LP
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Tropicantesimo is an extended musical ritual which takes shape through the celebration of sound and dance. Originally born as a regular party at the Fanfulla club in Rome, Tropicantesimo gradually transformed into a collective listening experience which eventually found place at Pescheria, the group's official home and studio. Slowly the collective animated by DJs Hugo Sanchez, Lola Kola, Rocco Mago, Gabor, and Egeeno, began to open up to impromptu jams and collaborations with musicians and DJs of various backgrounds. The rhythms are incessant, the BPM is slow and hypnotic. Voices flow between songs, messages, and pure sound. The music is kneaded organically to release energy. All this can be found through the extensive production work based on tons of recordings collected over the years. Tropicantesimo's Session 3 is the third in a series of three EPs that anticipate the release of the album Gitania. Like in the previous two chapters here you have three songs recorded and mixed at Pescheria.
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PNY 009LP
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Tropicantesimo is a music ritual extended over time and a celebration of sound and dance. It all started ten years ago at the Fanfulla Club in Rome. Nothing more than a party that over the years has transformed into a collective listening experience out of time and space. Meanwhile the collective animated by DJ Hugo Sanchez, Lola Kola, Rocco Bartucci, Gabor, and Egeeno moved to a new club called Pescheria, and opened up to spontaneous live jams and collaborations with musicians and DJs from various backgrounds. Rhythms are incessant while the BPM is slow and hypnotic. Vocals flow between songs, messages and pure sound, while music is an organism which produces energy. The fruit of all this lives through extensive production work based on recordings collected over the years. Tropicantesimo Session 2 is the second of a series of three EPs presented as anticipations of the Tropicantesimo Gitania album release. Like the first EP, this new chapter contains three songs recorded and mixed at Pescheria, the Tropicantesimo laboratory. "Perfidia" is a jazz and easy listening "classic" from the 1940s, re-sung on a recent techno dub track produced by Donato Dozzy and slowed down to become a new, sexy, and enchanting tune. Egeeno's fluidity gives new soul to the piece and projects it right into the future. This is one of those pieces born during live sessions, even though the recorded version reflects the truth of the moment in which it was recorded. "Oro Rosso" comes from a summer session in which we decided to work on a song by a raw garage band called Gli Offesi. This is a song about submission, sexism, racism and eventually revenge, even though Lola Kola's singing opens up further interpretive scenarios. As for most of Pescheria sessions, guests can be very unpredictable, and here is Maria Violenza, the punk queen. "Bolla Napoli" is a journey through timeless sounds and feelings. From Neapolitan storytellers to the sublime world of Erik Satie with Lola Kola and Egeeno joining in a jam inspired by two classic songs "Maruzzella" and "Anema E Core" both combined with the unpredictable sound texture of the backing track.
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PNY 008LP
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Tropicantesimo is a music ritual extended over time and a celebration of sound and dance. It all started ten years ago at the Fanfulla club in Rome. Nothing more than a party that over the years has transformed into a collective listening experience out of time and space. Meanwhile the collective animated by DJ Hugo Sanchez, Lola Kola, Rocco Bartucci, Gabor and Egeeno moved to a new club called Pescheria, and opened up to spontaneous live jams and collaborations with musicians and DJs from various backgrounds. Rhythms are incessant while the BPM is slow and hypnotic. Voices flow between songs, messages and pure sound, while music is an organism which produces energy. The fruit of all this lives through extensive production work based on recordings collected over the years. Tropicantesimo Session 1 is the first of a series of three EPs presented as anticipations of the Tropicantesimo Gitania album release. This first EP contains three songs recorded and mixed at Pescheria, laboratory and home of Tropicantesimo. "Don't Bla Bla Bla" is an anathema and an explicit manifesto about the need for uncompromised sounds and joy in life. When the music kicks in, the usual blah blah blah becomes disturbance, as Lola Kola and Egeeno clearly sing. This is a spontaneous live session, a usual practice that generates the Tropicantesimo sound flow. "Samba e Amore" is a cover of a Chico Buarque and Ennio Morricone's song, written in the late 1960s during Buarque's exile in Rome. Here the song has been processed by the Tropicantesimo sound machine with Gabor and Lola Kola claiming for freedom and self-determination in life. "Samba e Amore" belongs to the Tropicalist music classic repertoire, a great inspiration for the Tropicantesimo sound and vision. "Luna Jamming" is the result of another kind of experiment. Here the DJ culture is hybridized with the improvised live performance, a meeting that can generate unpredictable encounters. Lola Kola and Egeeno bring Loredana Bertè and Bob Marley together for an unprecedented classic reggae duet on a contemporary techno dub beat. Needless to add that such a combination of elements generates new visions and reaffirms important values such as sharing and getting together.
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PNY 33020LP
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Penny Records present the vinyl version of the soundtrack from the TV series Anna, written and directed by Niccolò Ammaniti. Fueled by Niccolò Ammaniti's passionate and immersive creative style, the score for Anna was approached almost as a character study. Anna exposes a world of extreme conditions where the essentials of human existence flourish in a wide range of emotions and sentiments tainted through the eyes of children. Striking brutality and primal savagery go hand in hand with the beauty of innocence and hope. Rauelsson's musical language for Anna includes tense and spare textures that blend seamlessly with intimate ambient minimalism; classical elements that coexist with electronic drone experimentation and tribal rhythms, candid piano melodies buried in tape loops and otherworldly rituals of wordless voices. To arrive at this music landscape, Rauelsson enlisted an international cast of collaborators including Finnish percussionist Tatu Rönkkö, German cellist Anne Müller, American multi-instrumentalist Peter Broderick and Oslo-based vocalist Simin Tander. With this ensemble, Rauelsson's music documents a journey of survival that highlights the power of imagination and love. Gatefold sleeve; includes poster of the TV series and download code for the complete digital release; edition of 500.
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2LP
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PNY 3307LP
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Double LP version. Gatefold sleeve. Four years since their first self-titled release (PNY 3304CD/LP, 2015), La Batteria, one of the most brilliant Italian bands in the field of instrumental music, are back with their brand new second album. Seventy minutes of music spanning 18 tracks released on Penny Records. Against the rules of today's market and more in the '70s classic rock tradition, here is a consistent double-album carrying both the band's typical cinematic atmospheres and the four members individual experiences and personal taste. It's a sort of musical journey where different ages and genres melt together within the Roman band's unique style. Through the various tracks you can easily find the complex writing of Fonderia (the other band of members Bultrini, Vicarelli, and Pecorelli) and the peculiar rhythmic groove of Nerattini's hip-hop productions, and the endless cross-contamination coming from their common project of the Orchestra di Piazza Vittorio. Prog-rock, funk, hip-hop, classical music, electronics, Latin grooves, Italo-disco, psychedelia, and hard rock, all perfectly melt together in a fascinating new work which places the band in the great Italian tradition of music for images, luckily far from being a mere copy of an unrepeatable age. "Listening to 'Chimera' by La Batteria: authentic, cinematic, beautiful." --Barry Adamson
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PNY 3307CD
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Four years since their first self-titled release (PNY 3304CD/LP, 2015), La Batteria, one of the most brilliant Italian bands in the field of instrumental music, are back with their brand new second album. Seventy minutes of music spanning 18 tracks released on Penny Records. Against the rules of today's market and more in the '70s classic rock tradition, here is a consistent double-album carrying both the band's typical cinematic atmospheres and the four members individual experiences and personal taste. It's a sort of musical journey where different ages and genres melt together within the Roman band's unique style. Through the various tracks you can easily find the complex writing of Fonderia (the other band of members Bultrini, Vicarelli, and Pecorelli) and the peculiar rhythmic groove of Nerattini's hip-hop productions, and the endless cross-contamination coming from their common project of the Orchestra di Piazza Vittorio. Prog-rock, funk, hip-hop, classical music, electronics, Latin grooves, Italo-disco, psychedelia, and hard rock, all perfectly melt together in a fascinating new work which places the band in the great Italian tradition of music for images, luckily far from being a mere copy of an unrepeatable age. "Listening to 'Chimera' by La Batteria: authentic, cinematic, beautiful." --Barry Adamson
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PNY 4506LP
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2016 repress; originally released in 2013. 140-gram LP. Includes CD. Thirty-six amazing tracks from the vault of Flipper Music, spread over two volumes. There was something strange and disturbing going on in Italy in the '70s. It was a tumultuous and visionary period of (post-) psychedelic excess. One that was defined, on the one hand, by random acts of terrorism and a heavy military police presence throughout the Italian territory, and on the other, by strobe lights, shattered taboos, and extreme gestures. A singular atmosphere that reverberated throughout every aspect of life -- from fashion, to design, to television, to film, literature, the visual arts, and, of course, music. Perhaps the area in which this feeling was most pervasive was that of the television soundtrack, made to accompany the TV programs of a country that, although in turmoil, was still vital and creative. The tracks found here are a perfect example of this feeling, and come from the large catalog of what is perhaps the most important Italian label in the industry, Flipper Music, which, by the end of the '60s, had published, through its many labels (RTV, Canopo, Octopus, Deneb, Flower, Flirt), hundreds of albums that are now long out-of-print and have become very rare. This music has the unique ability to remind the listener of that feeling of euphoric tension that permeated an entire country. Musical fears and obsessions straight from the most absurd decade of the most absurd country in the Western world. Volume one includes music by Giorgio and Franco Bracardi; Alessandro Alessandroni; Amedeo Tommasi; Peymont; Ugo Busoni, Paolo Ferrara, and Massimo di Cicco; Giuliano Sorgini; Gerardo Iacoucci; Lamartine; Daniela Casa; Joel Vandroogenbroeck; Fabio Frizzi; and Sandro Brugnolini.
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PNY 4507LP
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2016 repress; originally released in 2013. 140-gram LP. Includes CD. Thirty-six amazing tracks from the vault of Flipper Music, spread over two volumes. There was something strange and disturbing going on in Italy in the '70s. It was a tumultuous and visionary period of (post-) psychedelic excess. One that was defined, on the one hand, by random acts of terrorism and a heavy military police presence throughout the Italian territory, and on the other, by strobe lights, shattered taboos, and extreme gestures. A singular atmosphere that reverberated throughout every aspect of life -- from fashion, to design, to television, to film, literature, the visual arts, and, of course, music. Perhaps the area in which this feeling was most pervasive was that of the television soundtrack, made to accompany the TV programs of a country that, although in turmoil, was still vital and creative. The tracks found here are a perfect example of this feeling, and come from the large catalog of what is perhaps the most important Italian label in the industry, Flipper Music, which, by the end of the '60s, had published, through its many labels (RTV, Canopo, Octopus, Deneb, Flower, Flirt), hundreds of albums that are now long out-of-print and have become very rare. This music has the unique ability to remind the listener of that feeling of euphoric tension that permeated an entire country. Musical fears and obsessions straight from the most absurd decade of the most absurd country in the Western world. Volume two includes music by Gerardo Iacoucci; Remigio Ducros; Roberto Conrado; Sandro Brugnolini; Ugo Busoni, Paolo Ferrara, and Massimo di Cicco; Enzo Scoppa; Alessandro Alessandroni; Paolo Ferrara; Alessandro Alessandroni and I Cantori Moderni; Alessandro Alessandroni and Giuliano Sorgini; Daniela Casa; Umberto Santucci; and Piero Montanari and Roberto Conrado.
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PNY 3306CD
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Tossico Amore is La Batteria's personal tribute to the composer Detto Mariano and the movie directed by Claudio Caligari in 1983. It is a true concept album that further expands the already rich sound tapestry of the quartet. La Batteria initially grabbed our attention with a first album that succeeded in combining the typical Italian epic sound attitude with materials coming from the wide, and often obscure, field of sound libraries and film scores. Tossico Amore is about reworking the music originally composed by Detto Mariano for Caligari's cult movie. Starting with a series of heavy themes inspired by the tough world of drugs, the music slowly transforms into full progressive-rock - that's where La Batteria effectively show their wide and multi layered background. A modern prog-rock opera that takes shape from Detto Mariano's weird musical ideas and develops them through a completely new soundscape. This is the definitive accomplishment of a band who is able to melt sonic elements from the '80s, such as new-wave and synth-pop, with materials coming from the previous decade. This is truly a new musical experience that shows how the spirit of Italian progressive music (rock, jazz, libraries, film soundtracks) can resonate between past and present. A total blast! Really!
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PNY 3306LP
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LP version. Tossico Amore is La Batteria's personal tribute to the composer Detto Mariano and the movie directed by Claudio Caligari in 1983. It is a true concept album that further expands the already rich sound tapestry of the quartet. La Batteria initially grabbed our attention with a first album that succeeded in combining the typical Italian epic sound attitude with materials coming from the wide, and often obscure, field of sound libraries and film scores. Tossico Amore is about reworking the music originally composed by Detto Mariano for Caligari's cult movie. Starting with a series of heavy themes inspired by the tough world of drugs, the music slowly transforms into full progressive-rock - that's where La Batteria effectively show their wide and multi layered background. A modern prog-rock opera that takes shape from Detto Mariano's weird musical ideas and develops them through a completely new soundscape. This is the definitive accomplishment of a band who is able to melt sonic elements from the '80s, such as new-wave and synth-pop, with materials coming from the previous decade. This is truly a new musical experience that shows how the spirit of Italian progressive music (rock, jazz, libraries, film soundtracks) can resonate between past and present. A total blast! Really!
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PNY 3305LP
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1983's Amore tossico (Toxic Love) is a legendary cult film, a stark and unflinching look at Italy's "junkie generation." Director Claudio Caligari approached the film more like a documentary than a work of fiction, casting recovering junkies as his actors; Caligari "imagined it more as a straight-up visual ethnography, hyperreal, replete with humor in the most grotesque situations -- like life." Accompanying Caligari's stark imagery and story is the soundtrack by Detto Mariano -- a prolific composer, arranger, and pianist -- who wrote the entirety of the score on his Fairlight Series IIx, a now-revered synthesizer that had just been released in 1983. The sound is therefore scary and up-to-date, a true companion to the vivid and rough imagery of the movie. This led the composer to a brand-new level of engagement; the machine is the tool, hence the music becomes something like the Italian answer to the industrial revolution. Coming from an academic background, Detto Mariano knew little of industrial music, but in fact Amore tossico can easily be associated with such pioneers of the genre as Throbbing Gristle and Cabaret Voltaire. The soundtrack is dark, angular, harsh, and -- just at times -- funky, rivalling the intensity of Carpenter's The Thing (1982) or Throbbing Gristle's Heathen Earth (IRL 004CD/LP, 1980). Never before available on any format, this soundtrack has been mastered from the original tapes and is now available as a deluxe 140-gram LP in a gatefold sleeve with a bonus CD of the entire album plus a reproduction of the original film poster.
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PNY 4508LP
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Pressed on 140-gram vinyl; includes CD. One of the absolute legends of calypso and mento music, Lord Flea released only this lone LP in 1957 before succumbing to Hodgkin's disease in 1959. Though he didn't even make it to the age of 30, the Jamaican native was an international superstar during the late '50s calypso craze, with residencies at nightclubs from Las Vegas to Manhattan to Miami. His image graced the pages of Life magazine and he appeared on The Perry Como Show and in several feature films. Harry Belafonte even had a major hit with his interpretation of "Shake Shake Sonora," included here. Swingin' Calypsos is an all-time Caribbean classic, and is sure to make you "jump in the line and rock your body in time."
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PNY 4510LP
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2016 repress; 140-gram vinyl; includes CD. The decade from 1968 to 1978 had a pivotal importance in Italy's 20th-century history. It was a period of deep social and cultural transformation on the wings of the Berkeley youth protests and the May 1968 protests in France, which then developed in different directions due to the moral contradictions of one of the most conspiratorial countries of the western world. Years of high-tension events -- beginning with the tragic massacre of Piazza Fontana and ending with the infamous kidnapping and murder of Aldo Moro -- were reflected in every aspect of society and culture. A palpable tension could be felt both sonically and visually. The soundtrack of this whole world was written in real time by a bunch of enterprising composers, right in the middle of a session for some magical Italian soundtrack or even an appearance alongside the RAI Orchestra (owned by Italy's national broadcasting company), who made little money while recording some instant albums for the most sought-after publishers of libraries. Sonic pictures of the heyday of Italian society, truly distinct from the music made by French, English, or German composers in their respective countries. The sound coming from the Italian television was as sharp as a razor blade and tasted just like lead and tear gas, with howling fuzz guitar and heavy drums to set the tumultuous scene of a society on the verge of implosion. Daniela Casa, Remigio Ducros, Alessandro Alessandroni, Stelvio Cipriani, Enzo Scoppa, Amedeo Tommasi, Franco Tamponi, and the other composers acted as drastic audio reporters as well as incredible musicians. They were able to describe in just few minutes the climax that surrounded them, using their classical heritage and training with hints of the avant-garde, along with the boost of psych-rock, jazz, funk, and whatever other popular musical innovation came their way. Urged to be minimalistic and not so original -- the quintessence of the library dictum -- the Italian composers answered instead with an experimental vocation pushed by that same need for renewal, stimulating the entire nation in those crazy and marvelous years. Released alongside Criminale Vol. 4 - Violenza! (PNY 4511LP). Includes tracks by Gerardo Iacoucci, Mario Vinciguerra, Vittorio Impiglia, Mario Molino, Elvio Monti, Bruno Battisti D'Amario, Franco Tamponi, Amedeo Tommasi, Antonio Riccardo Luciani, Alessandro Alessandroni, Leopoldo Perez-Bonsignore, Mario Pagano, Giovanni Ferroni, Enzo Scoppa, Stelio Subelli, Fernando Marucci, Paolo Ferrara, and Massimo di Cicco.
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PNY 4511LP
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2016 repress; 140-gram vinyl; includes CD. The decade from 1968 to 1978 had a pivotal importance in Italy's 20th-century history. It was a period of deep social and cultural transformation on the wings of the Berkeley youth protests and the May 1968 protests in France, which then developed in different directions due to the moral contradictions of one of the most conspiratorial countries of the western world. Years of high-tension events -- beginning with the tragic massacre of Piazza Fontana and ending with the infamous kidnapping and murder of Aldo Moro -- were reflected in every aspect of society and culture. A palpable tension could be felt both sonically and visually. The soundtrack of this whole world was written in real time by a bunch of enterprising composers, right in the middle of a session for some magical Italian soundtrack or even an appearance alongside the RAI Orchestra (owned by Italy's national broadcasting company), who made little money while recording some instant albums for the most sought-after publishers of libraries. Sonic pictures of the heyday of Italian society, truly distinct from the music made by French, English, or German composers in their respective countries. The sound coming from the Italian television was as sharp as a razor blade and tasted just like lead and tear gas, with howling fuzz guitar and heavy drums to set the tumultuous scene of a society on the verge of implosion. Daniela Casa, Remigio Ducros, Alessandro Alessandroni, Stelvio Cipriani, Enzo Scoppa, Amedeo Tommasi, Franco Tamponi, and the other composers acted as drastic audio reporters as well as incredible musicians. They were able to describe in just few minutes the climax that surrounded them, using their classical heritage and training with hints of the avant-garde, along with the boost of psych-rock, jazz, funk, and whatever other popular musical innovation came their way. Urged to be minimalistic and not so original -- the quintessence of the library dictum -- the Italian composers answered instead with an experimental vocation pushed by that same need for renewal, stimulating the entire nation in those crazy and marvelous years. Released alongside Criminale Vol. 3 - Colpo Gobbo (PNY 4510LP). Includes tracks by Daniela Casa, Remigio Ducros, Piero Montanari, Paolo Ferrara, Massimo di Cicco, Stelvio Cipriani, Franco Tamponi, Stefano Torossi, Sandro Brugnolini, Massimo Catalano, Gerardo Iacoucci, Stelio Subell, Joel V.D.B., Nino Rapicavoli, Enzo Scoppa, and Alessandro Alessandroni.
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PNY 4509LP
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Pressed on 140-gram vinyl; includes CD. By the time Louis Jordan's first LP was released in 1957 he already had 25 years as a professional musician under his belt. This is not to say that he was over the hill; on the contrary, he was well seasoned and in his prime. Somebody Up There Digs Me is filled with stellar re-workings of many of his jump blues classics, from "Caldonia" through "Is You Is or Is You Ain't Ma Baby" and "Let the Good Times Roll" to "Ain't Nobody Her But Us Chickens." Recorded in NYC in 1956 with arrangements from a young Quincy Jones and guitar work from the legendary Mickey "Guitar" Baker, Somebody Up There Digs Me is a sophisticated and swinging set that's still sure to keep your feet moving.
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PNY 3304LP
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LP version. Brought together by their common love for soundtracks and Italian library music of the late '60s and early '70s, the four members of La Batteria are veteran Italian musicians with experiences ranging through progressive post-rock (Fonderia), indie pop (Otto Ohm, Angela Baraldi), experimental jazz (I.H.C.), hip-hop (La Comitiva, Colle der Fomento), and world music (L'Orchestra Di Piazza Vittorio). The band performs original compositions influenced by songwriting from the heyday of Italian movie glamorama: music for images made between 1968 and 1980, by such masterful experimental composers as Ennio Morricone, Stelvio Cipriani, Alessandro Alessandroni, Bruno Nicolai, and bands such as Goblin and I Marc 4. The band plays all vintage instruments, but their debut self-titled album is not merely a revival; it's a projection of the past into the present. So, between the lines of their cinematic prog-funk, one can detect traces of afro-beat, hip-hop, and kosmische music, all filtered through a typical Italian feeling. La Batteria was conceived in Rome, the same area and environment where those soundtracks and library records were made. The album was mastered at the historic Telecinesound, owned by Maurizio Majorana (former bassist for I Marc 4), and was originally intended as a library album for Romano di Bari's Flipper Music (parent label of such cult labels as Deneb and Octopus Records). La Batteria's balanced sound maintains a continuity not only with the '70s Italian sound-world, but also with an entire movement that brought Italy to the attention of listeners around the world. It was a time of experimentation in the fields of music, theater, cinema, and visual art -- a whole cultural revolution now renewed. The visual elements of La Batteria -- Luca Barcellona (aka Lord Bean)'s cinematic logo and Emiliano Cataldo (aka Stand)'s cover art -- also establish a magical short circuit between past and present. Played by Emanuele Bultrini: mandolin and electric, acoustic, and classical guitars; David Nerattini: drums and percussion; Paolo Pecorelli: electric bass; and Stefano Vicarelli: Hammond C3, Clavinet, Fender Rhodes, harpsichord, celesta, piano, Mellotron, Minimoog, Prophet-5, and Dot Com System-66 modular synthesizer. "Formula" features the Patchani Brothers.
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PNY 3304CD
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Brought together by their common love for soundtracks and Italian library music of the late '60s and early '70s, the four members of La Batteria are veteran Italian musicians with experiences ranging through progressive post-rock (Fonderia), indie pop (Otto Ohm, Angela Baraldi), experimental jazz (I.H.C.), hip-hop (La Comitiva, Colle der Fomento), and world music (L'Orchestra Di Piazza Vittorio). The band performs original compositions influenced by songwriting from the heyday of Italian movie glamorama: music for images made between 1968 and 1980, by such masterful experimental composers as Ennio Morricone, Stelvio Cipriani, Alessandro Alessandroni, Bruno Nicolai, and bands such as Goblin and I Marc 4. The band plays all vintage instruments, but their debut self-titled album is not merely a revival; it's a projection of the past into the present. So, between the lines of their cinematic prog-funk, one can detect traces of afro-beat, hip-hop, and kosmische music, all filtered through a typical Italian feeling. La Batteria was conceived in Rome, the same area and environment where those soundtracks and library records were made. The album was mastered at the historic Telecinesound, owned by Maurizio Majorana (former bassist for I Marc 4), and was originally intended as a library album for Romano di Bari's Flipper Music (parent label of such cult labels as Deneb and Octopus Records). La Batteria's balanced sound maintains a continuity not only with the '70s Italian sound-world, but also with an entire movement that brought Italy to the attention of listeners around the world. It was a time of experimentation in the fields of music, theater, cinema, and visual art -- a whole cultural revolution now renewed. The visual elements of La Batteria -- Luca Barcellona (aka Lord Bean)'s cinematic logo and Emiliano Cataldo (aka Stand)'s cover art -- also establish a magical short circuit between past and present. Played by Emanuele Bultrini: mandolin and electric, acoustic, and classical guitars; David Nerattini: drums and percussion; Paolo Pecorelli: electric bass; and Stefano Vicarelli: Hammond C3, Clavinet, Fender Rhodes, harpsichord, celesta, piano, Mellotron, Minimoog, Prophet-5, and Dot Com System-66 modular synthesizer. "Formula" features the Patchani Brothers.
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LP+CD
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PNY 4503LP
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"Sixteen tracks of stone-cold female rock, soul and R&B from deep in the vaults. These chicks were busy keepin' it real...not keepin' house! Everyone from Big Mama Thornton and her superlative version of 'Hound Dog', to Toni Fisher and her 1959 hit 'The Big Hurt' (apparently the first song ever to use flanging), Cool Connie Francis' 1955 'Fallin'', Shirley Gunter's doo wop classic 'Ipsie Opsie Ooh' and the 'Female Elvis' Janis Martin's 'Cracker Jack'!"
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