You lucky people: as Christmas gift, I have just decided to post the first volume of Women In Lounge, a compilation that just becomes pretty hard to find these days. You'll find here 20 rare vocal gems, composed by Italian brightest soundtracks composers and made for movies now largely forgotten, except if you're into late 60's/early 70's Italian bis cinema: Alessandroni, Pisano, Piccioni, Morricone, Trovaioli, Orlandi, Ortolani, Bongusto, Nascimbene. A brilliant collection.
Raymond Lefèvre is probably not the best known of French soundtracks composers but when you consider the work he did for this two comedies, Jo and Les Grandes Vacances, he clearly deserves his place among the greatest composers, the Lai, Goraguer, Jarre, Magne, or de Roubaix. We can clearly thank Play-Time/FGL for this excellent reedition. Jo and Les Grandes Vacances soundtracks never got a proper release even if both movies have often been played on French television channels. Jo is a dark comedy but the music could have easily been made by Lalo Schiffrin for a thriller. Les Grandes Vacances music is largely influenced by British Invasion pop music of the time and each track is a reorchestration of the same melody in various styles, between Burt Bacharach and Henri Mancini. As bonus track, you can find the themes of two other movies made by Raymond Lefèvre for the same director, Jean Girault, La Maison De Campagne and Un Drôle De Colonel.
This long CD allows you to possess Quincy Jones two best soundtracks both featuring the character of detective Virgil Tibbs played by Sidney Poitier. Composed in respectively 1967 and 1970, In The Heat Of The Night and They Me Mister Tibbs! are heavy on jazz, blues and soul and don't have all the nervous tic of later blaxploitation soundtracks. Purists will certainly disdain this CD, because tracks are melted with dialogue snippets that are not on both original records. But what the hell, purists certainly already have those records on vinyl.
When producers saw the money Just Jaeckin racked with Emmanuelle and Histoire d'O, they started to produce erotic movies that could be distributed in theaters without being rated X. Joy is the cinematographic adaptation of the novel of the same name and made the rich hours of French late night TV programs in the 90's. At that time, there was no You Porn and those late night diffusions were the closest thing you could get your eyes on explicit sex scenes. This time, the music was not made by Pierre Bachelet but by François Valéry, who is as well an awfull French singer but succeded to make a nice little erotic soundtrack. The Joy instrumental title theme is a synthetic ballad with heavy drums and strings. The vocal version tries its best to sound erotic. Defintely not a masterpiece but a good try.
This double CD holds the soundtrack to two of the most popular French comedies of the 70's. Every French people you will meet anywhere in the world knows by heart the text of those two really funny films. Making fun of French people in vacations (in Africa in the first movie and in the Alps in the second ones), spectators found they represented them very well and the characters featured are now part of French popular culture. The music of Les Bronzés was composed by Michel Bernholc and is mixing exotica, folk, disco funk and melancolic electronica. The theme music, Sea, Sex And Sun was allegedly composed in five minutes by French master Serge Gaisnbourg himself. Pierre Bachelet was trying to make a living with erotic soundtracks (Emmanuelle, Histoire D'O) when he was called to make the music of the second adventures of Les Bronzés, Les Bronzés Font Du Ski. You will go for track number 5, a nice little piece of electronic funk clearly inspired by Moroder.
Don't run away with disgust: this compilation has nothing to do with an awful lounge restaurant compilation. Instead it gathers 20 vocal gems issued from various Italian soundtracks of the 60's and 70's. All the usual suspects are here (Morricone, Bacalov, Cipriani, Nicolai, Umiliani) but other less known composers are also featured. If specialists won't find anything new here, the casual listener will find everything he needs: dreamy, jazzy, catchy and brilliant music. If the movies featured are only half good than their brilliant soundracks then they are definitely must see.
Soul Impressions is a very good library funk record made by library maestro Janko Nilovic who proves that French could funk as well. Janko Nilovic add just his personnal touch, mixing what you can expect from a funk library record (plenty of wah-wah riffs, flutes, nices breaks) with easy-listening or jazz. We can be thankful to Vadim Music for having reeissued this year this hidden gem. It was just impossible to buy it on vinyl without saling an eye or a kidney to Chinese if you were lucky enough to find an original version in good conditions. Soul Impressions has probably been posted already on a lot of blogs but it's just the kind of record difficult to keep for yourself.
Viva La Muerte (Long Live Death in English) is a movie made by Spanish director Fernando Arrabal. Then exiled in France, fleeing dictator Franco’s fascist regime. Arrabal tried to exorcice his demons and its bad memories of the Spanish Civil War, counting the story of a young kid, Fando, that discovers that his missing father has been turned down by his mother to the fascists. Fando then tries to find his father. I never saw this movie but he is quite famous for being disturbing and closed to the surrealist movement with the graphic representation of the dark fantasies of the young boy.
This 7” is apparently the only soundtrack to this film and sums it up very well. Side A, Ekkolag, is an innocuous singalong song made by a child until you realize that the song is in fact (supposedly) in Danish and sang by adult singer, Grethe Agatz. Side B, Siesta, sounds like an insane Henri Mancini song. It was composed by Edouard Ruault (the real name of now deceased French music mogul and stunner Eddie Barclay)and Raymond Le Sénéchal. Curiously neither sides has been apparently sampled but Ekkoleg was featured in a French advertising a few years ago. For you, fanatic digger, this record can be find easily in France for a modic price but the inflation quickly increases when you cross the French border or try buy it on the internet. A good record worth having anyway.
Neil Norman and easy listening master Les Baxter produced several records under the name of Greatest Science Fiction Hits at the end of the 70's and the begining of the 80's. Thoses records were melting sci-fi soundtracks covers and original material, all made in a disco synth pop style. Star Wars was released on Greatest Science Fiction Hits Vol. 1 LP and as a 7" in France with on the B side Re-Entry. Re-Entry is the strongest track a little groovy gem. Starting with a traditional sci-fi synth sound, it then explodes in a blaxploitation style track with funky breaks, a massive bassline, a wah wah guitar and then morphs again into jazz rock. Warning: the sound on the version I got and I have posted is not very good.
I just found this gem in a Easy Cash shop near my place for 50 cents. I didn't have a clue how was this record when I digged it. I just found the title pretty cool: The Voodou Juju Drug. Back home I googled the name and realised that this 7" had already been posted on a very good blog (http://dj-alfonso.blogspot.com/) and was worth around 50 euros !!!! The first side, called The Voodou Juju Drug is a freaky breakbeat number with a nice sitar sound. Side 2, Killersteen's Voodou Juju is nice slice of pop afrobeat. According to DJ Alfonso, this record can be credited to library music composer Janko Nilovic.
Created in 1965 and signed to Decca, The Small Faces were at first just another Mods bands among other ones. In 1967, Andrew Loog Oldham, The Rolling Stones manager, created his own label, Immediate, and signed The Small Faces after the band got into several arguments with its label and its management. The band, led by Steve Marriott and Ronnie Lane, found in Immediate a place to express its creativity and signed its best songs, churning out hits after hits. If they were clearly influenced by the psychedelic air of the time, they are the best when they stay closed to what made their strength: raw pop clearly influenced by deep soul. In that sense, the last two instrumentals of this compilation, The War Of The Worlds and Wide Eyed Girl On The Wall are outstanding work.
The Small Faces were not an album band but a 7" band so this best of is the best way to discover and appreciate their music.
Booker T liked so much The Beatles Abbey Road album that he decided to cover it entirely in Memphis with his M.G.'s pals (Steve Cropper, Donald "Duck" Dunn and Al Jackson), giving to the resulting album the name of the street were Stax studios were, McLemore Avenue. Of course, those guys were so talented that they completely appropriated the Fab Four songs to make them their own, mixing them in a 3 instrumental funky as hell medleys and a single track, Something. Only a tight band like Booker T. & The M.G.'s could mix Golden Slumbers, Carry That Weight, Here Comes The Sun and Come Together in a single song without sounding strange. The other medleys gathers Because/You Never Give Me Your Money and Sun King/Mean Mr. Mustard/Polythene Pam/She Came In Through The Bathroom Window/I Want You (She's So Heavy) with the same success. It's deep funk going pop with major success. Even the record cover is a cool pastiche of the Abbey Road original cover.
When you think about Peru, you don't necessarily associate that country musical scene with psychedelic rock. But there is no reason that can explain that this small country would have not been touched by the 70's psychedelic wave. Traffic Sound was at first a covers band created in 1968 by Manuel Sanguinetti (vocals), Freddy Rizo-Patrón (rhythm guitar), Jean
Pierre Magnet (sax), Willy "Wilito" Barclay (lead guitar), Willy Thorne
(bass) and Luis "Lucho" Nevares (drums). They recorded their first album, A Bailar Go Go, in 1968. They then recorded three more albums but this time with original material: Virgin in 1969, Traffic Sound in 1971 and Lux in 1971. Traffic Sound music easily suffer comparison with its American or European counterparts of the times. They are not an exotic fade but a strong band with tight songs shaped for worlwide acceptance and success. Even if they used English in their songs, their latin roots can be heard all over their music but in a subtle way especially in the percussion work or the use of the Afro fused saxophone. There isn't any real psychedelic band without their drug hymn. For Traffic Sound, it's the infamous Meskhalina, released in 1969. Making the music of this band available was necessary and we can thank Vampisoul to have selected the best tracks of their albums for this wonderful compilation.
Another African gem reissued by Soundway. Hedzoleh Soundz were ailing from Ghana were they became quite famous as the Napoleon nighclub resident band. This were they met Masekela which used four tracks of their first LP, Hedzoleh Soundz, for his own record, Masekela Introducing Hedzoleh Soundz. Hedzoleh Soundz is characterized by its emphasis on traditional hypnotic percussions, catchy flute and guitar parts with a strong bluesy flavour. Truly original and never boring.
Much have been written about The Kusum Beat all over the internet. Sweet Talks has as well been posted many times on different blog. Always for the same reason: this music is damn good. The Kusum Beat is one of the "most famous" Ghanaian band, famous enough to tour regularly in the Western countries in the first half of the 70's. On Sweet Talks, they forget a little bit highlife to incorporate more pieces of traditional African music even if that's not that obvious for secular ears. The overall made me thought to early Fela recordings.
You've got rare groove records reedition labels and you've got Finders Keepers. Finders Keepers is Andy Votel creature and is specialized in the reedition of records so rare that probably nobody except Andy Votel and a handfull other talibans of hardcore crate digging have ever heard of. From Pakistanese movies soundtracks to turkish psychedelia, from Thai beats to primitive French electronica, the best of the rarest records ever produced on the surface on earth find a second life. Mixed by Flying Lotus little protégé The Gaslamp Killer, All Killer is a nice mix that gives you a pretty good inlook on Finders Keepers back catalogue. Trippy freaky shit. For you own information, Finders Keepers stock of records burned this summer during London riots.
Among the 5 volumes VP Records made with Joe Gibbs discomix 12" singles, the fourth volume will probably satisfy the most mainstream ears thanks to its two Michael Jackson covers: Shake Your Body To The Ground by Ruddy Thomas and Welton Irie and Don't Stop Till You Get Enough by Derrick Lara and Trinity. The last one, with its infectiuous bassline, will smash every dancefloor when played, even the less reggae friendly. The rest of the record is more made for true reggae heads and is filled with absolute scorchers and classics made by a producer then (end of the 70's/begining of the 80's) at the peak of his inspiration.
There are good records you only listen to once or two times. And there are good records you listen to again and again: in the morning, in the evening, in your car, when you feel good, when you feel bad. In the latter category stands Give Me Your Love, an absolute classic produced by Roy Ayers for his chorist Sylvia Striplin with nice strings arrangement thanks to William Allen. Roy occupied only the producing seat here and doesn't play any vibes but it's probably one of the best records he ever made. There are absolutely no filler and hip hop heads will recognise easily the melody of You Can't Turn Me Away and Give Me Your Love, two songs largely sampled or covered (http://www.whosampled.com/sampled/Sylvia%20Striplin/). A must have nicely repressed by Soul Jazz Records in 2010.
I recently posted about New York funk (Auguste Darnell), New York punk funk (Liquid Liquid) so let's post this time about New York punk. I don't mean The Ramones or The Dead Boys, not even Blondie or Television, but a band among the originators of punk rock, The Dictators. Born in The Bronx and lead by Richard Blum (aka Handsome Dick Manitoba), members Ross "The Boss" Funicello, Scott "Top ten" Kempner, Adny Shernoff and Stu Boy King had a taste for 60's pop song covers (I Got You Babe, California Sun) and loud hard rock with a I don't give a fuck funny attitude. Those guys knew that all this rock'n'roll CBGB circus was just a joke and behaved accordingly. They never got the recognition they deserved and vanished in obscurity after 3 LP's. Their first one, Go Girl Crazy! is their best and they definitely have a first class seat in New York rock posterity.
This 7" is a nice surprise and a curiosity for two reasons. The Dynamic Superiors are certainly not the most well known male vocal quintet on Motown roster. But they were rather original, their lead singer Tony Washington being openly gay and dressing in drag on stage. This was what you can call a real punk attitude, especially when you consider that afro american music scene has been always crossed by a clear homophobia. The second curiosity with this Holland/Dozier/Holland penned (for Martha And The Vandellas) disco stomper heavy on percussion is that it was effectively produced by Edward J. Holland. The trio had left Motown in 1968 to create their own imprints, Invictus Records and Hot Wax Records, and they went to court with Berry Gordy over royalties money and breach of contract matters. Curiously, despite the lawsuit, they still produced records for Motown in the 70's.
No other band deserves more the title of seminal than Liquid Liquid. Much have been said about those 4 new-yorkers. Without Liquid Liquid there would have been no LCD Soundsystem, Battles, a famous scottish DJ duo and plenty of hip hop producers would still be sampling James Brown records in search of the perfect beat. Scott Hartley, Richard McGuire, Salvatore Principato and Dennis Young released only 3 EP's (Optimo in 1983, Successive Reflexes in 1982 and Liquid Liquid in 1981), a few 7" and that's all. They still come back nowadays from time to time for average live shows but they never recovered their original strength. Because the music of those guys is only rythms and percussions (no melody, a few madman lyrics but a massive bassline with drums, marimba, talking drum, and various percussions) it's not that easy to get into it. But if you get grabbed, it can change your life. Punk funk at its best. This compilation comes with the 3 above mentioned EP's and 4 live tracks recorded in Berkley Square in 1982.
Growing up in the 70's and 80's, I completely ignored August Darnell existed until I saw him in the news in the mid 80's. He was touring in the south of France with the Coconuts and that deserved him a two minutes story. I found his music sounded cheesy and his stage antics were just not funny at all. 20 years later, thanks largely to DFA and James Murphy, the punk funk revival allowed me to digg into Ze Records discography and I really discovered August Darnell work. That guy is just a genius: mixing up every New York street sounds (disco, punk, funk, jazz, salsa etc.) into a big shaker and making of it something unique, intelligent, funny and really really good. He occupied different positions (artist or just producer) in bands or solo acts like Dr. Buzzard's Original Savannah Band, Don Armando's Second Avenue Rhumba Band, Christina, Gichy Dan's but you can recognize his hand at the first seconds on each record. This Strut released compilation is a perfect introduction to his work.
MC Rob Base & D.J. E-Z Rock stormed the streets and the charts by surprise in 1988 with It Takes Two and its infectious funky drummer rythm. Get On The Dancefloor was their second single and an excellent hip house try. The baseline and the keyboards lines do perfectly well the work and consequently Get On The Dancefloor packed New York floors upon its release. For this French edition, the record label took Creativity as a b-side and used the It takes Two album cover graphics to illustrate the 7" cover. This complete lack of creativity sums up perfectly well how hip hop was considered back then by European records label heads: a passing fad adressed to illeterates and certainly not a legitimate culture. Creativity is an instrumental breakbeat that shouts out to Rob Base & D.J. E-Z Rock label, Profile Records. Rob Base & E-Z Rock, despite the success, vanished then into obscurity
I just bought a handful of nice EPs and 7" at a flea market so my next posts will be probably less albums oriented. So get ready for Zorba le Break vinyls sound. Let's start with that Archie Bell & The Drells' The Soul City Walk b/w King Of The Castle 7", released in 1975 on TSOP Records. TSOP records was run by Philadelphia soul kaisers Kenneth Gamble and Leon Huff. Kenneth Gamble were not involved in the recording of The Soul City Walk and King Of The Castle, the production duties being credited to respectively to Bunny Sigler and John Whitehead. The single reached rank 13 in the R&B charts and was the last one to score as well in Archie Bell &The Drells career. They split in 1980. Both tracks are nice pieces of uptempo philly soul that will figure on the album Dance Your Troubles Away.
I left you in july with a Sly & Robbie post and guess what, I'm back in september with a Sly & Robbie post. Don't be afraid by the ugly cover of this bargain CD, probably one of the shittiest ever produced by the recorded music industry since its creation . It's the cheapest way to acquire Sly & Robbie's Dub Rockers Delight album, released here under another name, Leaving Dub. Dub Rockers Delight is the dub version of Lacksley Castell's Morning Glory LP (thank you Roots Archives http://www.roots-archives.com/release/1655/?highlight=20469). It was recorded in Studio One and Tuff Gong studios in 1982 and produced by Robert Flacko Palmer. In fact, this album is heavy on reggae instrumentation and not that much in dub effects which are very light. It's not exactly at the same level than the masterpiece of the genre but it's difficult for me to be objective when Sly & Robbie are involved and I found the overall album pretty good. There's enough drum and bass here to satisfy any head.
Reggae is probably one of the music the most cherished by die-hard fans. It's even the music that has the most fetichists in Western world, the kind of guys that spend monthes and massive amount of money to track down rare 7". Posting about reggae can consequently be a double edge sword: it's curiously the posts that have the most success and drag trafic on this blog but it's pretty hard to find something really interesting and rare that has not been posted elsewhere on hundreds of musical blogs like this one. You'll probably find posts about Taxi Fare at other places but this record is so good it would be a crime to omit it. Jamaican music most famous rythms duo, Sly Dunbar and Robbie Skakespear probably hold the bass and the drums on the best reggae releases of the last 40 years. They released Taxi Fare under their own name with the help of the Channel One All Stars (Bongo Herman, Carlton "Santa" Davis, Eric Lamont, Errol "Flabba" Holt, Gladstone Anderson, Noel "Scully" Simms, Sky Juice, Winston Wright) and Jamaican best vocalists of the time. It's not a proper album but more a compilation of their best production works of the previous years for their own Taxi Records label. It all starts out with the instrumental track Triplet and its slowed down and dubbed out interpolation of Don't Go by Yazoo. Sugar Minott then holds the vocals on Devil Pickney, Struggle on Rock Music, Jimmy Riley on Pure & True, Junior Delgado on Fort Augustus, Dennis Brown on Sitting & Watching, The Tamlins on Baltimore, my favorite track of the record, Jimmy Riley again on Bang Bang and Carlton Livingston on Those Tricks. The bass and the electronic drum are mixed above the vocals and the other instruments and the result just kick you in the chest. In a time when digitalized reggae was starting to dominate Jamaica, Taxi Fare succeeds to be a roots release with a modernized flavor. A must.
MPS(for Musik Produktion Schwartzwald) can be a tricky label for break hunters like myself. Most of its releases are made for true jazz heads and are sometimes a bit annoying for common ears, especially when it ventures into free jazz territory. A similar experience happened to me when I read an article about Mainstream Records in Waxpoetics and discovered that Mainstream Records was anything but mainstream. But sometimes you find that magical moment on a record, the magical moment you're digging for and that makes you want to write a post about it. I found that magical moment with the 4th tracks of Zo-Ko-Ma, At Twighlite. It begins with a perfect guitar loop and when the alto sax and the trombone come over the guitar, things go sweet and smooth with a pretty cool laidback but arty feeling. The other Zo-Ko-Ma tracks are good as well but it definitely deserves to be possessed for At Twighlite alone.
Deniece Williams has one of the most nice crystal clear soprano voice of black music with Minnie Riperton and has been largely overlooked recently. She started as a backup vocalist for Stevie Wonder but it's Earth Wind & Fire Maurice White that produced her first album, This Is Niecy: a classic. You'll find four tracks of This Is Niecy on this best of: Free, of course, Cause You Love Me, Baby, That's What Friends Are For and If You Don't Believe. Deniece Williams continued working with Maurice White for her second album, Song Bird. Her third try, When Love Comes Calling, saw her working with other producers and releasing the excellent and uptempo I Found Love. She then worked with Thom Bell On My Melody and Niecy for a nice Philly sound. By respect for this brilliant artist, I'll keep silence on the rest of her career since the mid 80's. Gonna Take A Miracle is producer Leo Sacks personnal best of but gives you the opportunity to hear Deniece Williams greatest tracks without any real filler.
After a quick search on the internet, I discovered that the then Blue Note released two albums gathered on Modern Sounds From The West, Best From The WestVols 1 & 2, are celebrated like a must-have among jazz heads. I had strictly no clue about it when I found this CD in a dusty sales bin with a cracked box. I have to admit that Conte Candoli made a brilliant work here and you'll certainly like it, whether you are into jazz or not. The cuts are clean, simple and short. You'll find everything you need to know about this cool as fuck record here: http://www.jazzwax.com/2009/01/conte-candoli-best-from-the-west.html
Produced by Roy Ayers (his name is on the cover), this is the sole album that features Roy Ayers backing band, Ubiquity, without Roy Ayers signing or playing vibes on it. The songs switch between disco and jazz funk and are well executed by seasoned musicians and singers. Starbooty is definitely a good album but a bit too mechanical and certainly not as good as what Roy Ayers did under his own moniker. The best tracks are not necessarily the ones written by Roy Ayers himself. My personnal preference goes to the midtempo Simple And Sweet and its killing head nobbing bassline.
A few months ago, I entered a record shop in Paris, decided to catch up with what young people are listening to these days. I listened to Nicki Minaj and Drake but leaved the record store with Eazy-Duz-It under the arm. There are only two explanations to this phenomenon:
- Explanation 1: I'm just too old for this shit (I'm 38). - Explanation 2: put a Drake record and an Eazy-E record side to side and you'll understand what popular hip hop is probably missing today.
I'm not talking of underground vs mainstream: west coast gangsta rap was made to be sold and make a lot of money. It's just that a while ago, hip hop was that raw shit that made you parents suit the record store that sold you the CD and it should have just staid that way. Eazy-E was a former street hodlum turned rapper. That guy barely could rap, the production was raw and minimalist, his lyrics and his lifestyle were irresponsible but he had that I don't give a fuck attitude that he shared only with the best rockers. That makes all the difference and didn't prevent him from making millions out of it.
Sold with a special edition on NY rock scene of the French indie rock bible news magazine Les Inrockuptibles, this compilation is pure honey for the ears. Michel Esteban has chosen probably 14 of the best tracks of his ZE Records catalogue. If ZE Records artists have been numerous times compiled, especially on ZE own Mutant Disco serie, and are largely reedited, listening again those 14 arty no wave and punk funk missiles just makes you immediatly in a party mood. You'll even find three special edits: the Social Disco Club Edit of Gichy Dan's Beachwood #9's Cowboys & Gangsters, the Pilooski Edit of Don Armando's 2nd Ave. Rhumba Band's I'm An Indian Too and The Barking Dogs Edit of Arto Lindsay-Arto/Neto's Pini, Pini.
12 electro funk bombs produced by the west coast pioneer Arabian Prince under his own moniker or for others (N.W.A, Professor X, J.B. Beat). The liner notes teach everything you need to know about the birth of hip hop in California. At first essentially a DJ thing, clearly oriented to dance and party, west coast rap only really existed on the hip hop map when NWA mixed electro beat with gangsta and ghetto tales and made millions of dollars out of it. Gangsta rap was born, rap music became a business like the other ones and its pioneers like Arabian Prince moved to something else (movie special effects for the latter). The instrumental bonus tracks on the CD, Simple Planet and Beatdabeat, are really surprising and are a must-have: Arabian Prince electro beats draw a direct line between Compton and Detroit and could have been released on UR.
Orfeu Da Conceiçao is a Brazilian play inspired by the Orpheus legend and written by Vinicius De Moraes. Vinicius made a musical out of it in 1956 with the help of Jobim, Roberto Palva (singer) and Luiz Bonfa (guitar). Orfeu Da Conceiçao is a really ambitious work that goes beyond the realm of bossa nova to touch classical music and jazz. The first track, Ouverture, starts like classical music and then switches into a bossa nova. Eu O Meu Amor mixes big band jazz with samba. Minologo De Orfeu is a poem recited by Moraes himself. You can hear as well for the first time the classic Se Todos Fossem Iguais A Voce. Jobim and Bonfa worked a second time on the Orpheus myth when they wrote the soundtrack of the Orfeu Negro movie, based on the same Moraes play. It's just the kind of record that has seminal and masterpiece written all over it.
1) You will only find here music released between 1950 and 1989.
2) You will find here an eclectic selection of records I possess personally.
3) You will only find here records I digged with love during long hours spent in records shops (yes, there are still some existing and pretty good ones) or in any other place where you can find records.
4) You will only find here records I like and that I think deserve a better recognition. If you like them too, don't forget you can buy them. There's certainly a way to find them somewhere for a cheap price.
5) If you own the rights on some of the music featured here and think that my posts decrease dramatically your sales, just send me a mail or leave me a comment. I will withdraw the downloading link immediately.
6) I spend a lot of time on each post, riping, scanning, uploading, writing a little and all that with a lot of pleasure.
7) Re-uping records pisses me off. If a link is dead, just subscribe to this blog or become a member and you won't miss anything in the future.
8) Don't hesitate to leave comments: they're soothing my tourmented soul and it shows your appreciation or your concern.
9) You will only find here records ripped from original vinyl or CD source.
10) If you notice that something is not working technically, don't hesitate to leave a comment. Some do it and it helps me a lot, thanks.
