Review: Reissues go one of two ways. Well, OK, maybe three. You're either left blown away by how fresh something sounds, reminded of a special moment in music history and how good an example a record is of that time capsule, or walk away wondering why you thought it was necessary to play, let alone buy, from this particular archive. As you'd hope, listening back to Slow Dive's seminal 'Just For A Day' fits into the second of those conclusions. Yes, soaring rock that seems to foster our dreams and fantasies in walls of power shoegaze does feel like a recollection rather than where we're at today. But my goodness do the epic arrangements and woozy artistry in the songcraft still sound as awesome, grandiose and yet personal as ever. One for the books, for sure.
Review: Tin Machine II is the second and final studio album by Tin Machine. It was rebased in 1991 by Victory Music and marked the last time Bowie fronted and toured with the band. After this he focused on his solo career but the album quietly, in the background, continued to pick up fans, praise and an increasing reputation. It's often cited as one of the best lost albums of the last millennium and is packed with strong tracks that power along on big, angular guitars with Bowie's vocals soaring up top. This is the first time the record has been on vinyl since its initial rase and comes on limited edition coloured wax.
Review: Pioneering ambient duo Global Communication were invited to rework the Blood Music album from Chapterhouse for this 1993 album, originally on Dedicated Records. It might technically be a remix album, then, but you'd be hard pushed to notice much of the original material left intact. Instead, in the hands of these two skilled sonic craftsmen, it becomes an hour long work over five tracks, various multi-track tapes and thematic embellishments that make for a whole new world of cinematic sound. Floating ambience is paired with slow and deep electronic beats to classic effect throughout, making it yet another masterclass from Mark Pritchard and Tom Middleton.
My Baby Just Cares For Me (The Reflex edit) (6:36)
Mood Indigo (Renegades Of Jazz remix) (3:47)
Little Girl Blue (Maestro remix) (4:37)
Love Me Or Leave Me (Suonho Relove) (3:38)
African Mailman (The Rebel remix) (3:57)
I Loves You Porgy (Mees Dierdorp remix) (4:10)
My Baby Just Cares For Me (Gabriel & Castellon & Maestro remix) (5:51)
African Mailman (Opolopo remix) (5:49)
Plain Gold Ring (Fab Samperi remix) (4:50)
He Needs Me (Gramophonedzie remix) (5:45)
Love Me Or Leave Me (Gabriel & Castellon & Maestro remix) (3:27)
African Mailman (Smoove remix) (6:00)
Central Park Blues (Monte's Midnight mix) (4:03)
Review: Nina Simone's Little Girl Blue album is one of her most acclaimed. It's packed with her archetypal blues, jazz and soul sound so you can understand why Dutch producer DJ Maestro jumped at the chance to remix it. He hasn't take on the sizeable task alone, however, as he's enlisted the likes of The Reflex (who releases frequently on Kon's label), Suonho, Mop Mop, Renegades of Jazz, Gramophonedzie, Fab Samperi and Mees Dierdorp. Much of the original material is easily recognisable, but is packaged in subtle beats, happy jazz or sympathetic neo-soul that feels somehow right and fitting.
Valeria Szervanszky & Ronald Cavaye - "Le Jardin Feerique" (3:02)
Sufjan Steven - "Visions Of Gideon" (4:09)
Review: You can trust Music On Vinyl to put out the very best soundtracks, from the least likely sources. That Blade Runner soundtrack reissue a few years back was an absolute treat for us, to cite an example, but this edition of the Call Me By Your Name soundtrack is even more leftfield. After all, it's no surprise because the film had an insanely on-point score that never made it onto vinyl format; songs from the likes of John Adams, Giorgio Moroder and Franco Battiato are a wonderful thing to own on wax, within the concept of this remarkable movie, alongside other great tunes from coveted producers like Japan's Ryuichi Sakamoto. All in all, a fine catch.
Review: Radio DJ, studio engineer, singer and producer, Dread At The Controls label owner and sometime The Clash collaborator Mikey Dread debuted with this record in 1979. It's filled with mesmeric studio trickery, and really takes the dub sound into the future on a wave of sci-fi imagery and cosmic rays. It has a sense of humour too, in some of the more tongue in cheek sound designs as well plenty of fat and flabby dubs to provide you with plenty of smokey moments and lazy grooves to sink into to.
Review: Champion sound! Sampled over 500 times but still funkier than a sleepover at Kanye's, The Mohawks "The Champ" enjoys gold status for this limited Record Store Day special. Flip for the instant horn-heaved call to arms "Sound Of The Witchdoctor". Fresh from 68, and still as bewitching... You might call this a magnificent 7" (not sorry)
Review: Toots and the Maytals were sent back to Dynamic Sound Studios in Kingston for new recordings that eventually gave rise to the album after their Funky Kingston success. It features a number of covers of material aimed quite specifically at the English market such as John Denver's "Take Me Home, Country Roads." Though first recorded in 1974, it still packs a punch and of course delivers plenty of the Jamaican band's melodic reggae with beautiful vocal harmonies. The whole thing oozes soul and is underpinned by a certain sense of spirituality that makes it all the more alluring and enduring.