Review: 'Don't Worry' is a classic song by Modern Talking, the German duo of Dieter Bohlen and Thomas Anders which was released in 1987 as part of their fifth album, 'Romantic Warriors'. The song features the signature sound of the acclaimed duo, with catchy synth melodies, disco beats and harmonised vocals. The song is a classic example of the Euro disco genre that the West Berlin duo popularised in the 80s and has certainly stood the test of time.
Review: Modern Talking is the German pair consisting of Thomas Anders and Dieter Bohlen who were rather prolific back in the 80s and beyond. There has been a revived interest in their music of late and for that reason much of it is being reissued, including this new, limited edition and nice heavyweight 12" edition of 'Give Me Peace On Earth.' It's a three track disco odyssey that starts with the sentimental and syrupy sweet vocals of the title track, which is doused in loved up 80s chords. 'Stranded In The Middle Of Nowhere' is just as devastatingly heart broken with its slow, crashing drums and yearning vocals then bonus cut 'Sweet Little Sheila' picks up the pace for a lively dance floor disco workout.
Review: Hugely successful German disco duo Thomas Anders and Dieter Bohlen are Modern Talking, and they made lots of sentimental as well dance floor-ready disco sounds back in the 80s. Much of it is being reissued by the behemoth that is Music On Vinyl and next is a limited edition marble red and blue vinyl version of this three-track 12". There is a campness to this which fans of the likes of Erasure are sure to enjoy - 'Jet Airliner# (Fasten Seat Belt mix) has big 80s drum sounds and glistening synths while the vocals drown in reverb. The instrumental is a little more clean though the drums and arps still make for a big impact and the radio version is also included to close.
Review: Modern Talking was one of the most successful German disco-pop acts of all time. It's an alias for writers, composers, producers and vocalists Thomas Anders and Dieter Bohlen and they put out a busy run of music back in the 80s that is reconnecting today with modern audiences. As such much of it is being made available again thanks to the Music On Vinyl label, and on various different coloured slabs of wax, no less. 'Lonely Tears In Chinatown' has all the playful pomp and campness of a Eurovision song winner with its big synth stabs and cold drum machine grooves. 'Give Me Peace On Earth' is an over-the-top ballad that drowns you in more 80s nostalgia.
Review: There's been much made in the media about "Christmas creep" - that phenomenon where festive products appear earlier each year. Here's another example, as Music On Vinyl gets ready to gorge itself on heavy carbs and sugary snacks via a surprisingly early reissue of Modern Talking's 1987 festive single 'It's Christmas'. A big hit in Europe at the time, it layers a typically emotive vocal (extolling the virtues of 'the season') - and a children's choir in the chorus - over a shuffling, lightly Latin drum machine rhythm, sleigh bells, chiming synthesiser lead lines and all the usual Christmas single trimmings. It is, like many of its Ilk (and egg nog) an acquired taste - albeit one you can stomach while you dance around a decorated tree in a decidedly iffy Chrimbo jumper.
The Legend Of 1900: Playing Love (Giuseppe Tornatore Suite) (1:51)
Cinema Paradiso: Nostalgia (2:01)
Cinema Paradiso: Looking For You (1:43)
Malena: Main Theme (4:36)
A Pure Formality: Main Theme (3:23)
Once Upon A Time In America: Deborah's Theme (Sergio Leone Suite) (2:20)
Once Upon A Time In America: Cockeye's Song (1:05)
Once Upon A Time In America: Main Theme (4:04)
Once Upon A Time In The West: Main Theme (4:31)
The Good, The Bad And The Ugly: Ecstasy Of Gold (2:40)
Casualties Of War: Main Theme (Brian De Palma Suite) (3:02)
The Untouchables: Death Theme (2:44)
Moses: Journey (Moses & Marco Polo Suite) (3:29)
Moses: Main Theme (2:24)
Marco Polo: Main Theme (3:21)
Dinner (The Lady Caliph) (4:14)
Nocturne (2:19)
Review: First released more than two decades ago in 2004, Yo-Yo Ma Plays Ennio Morricone features the renowned cellist performing pieces from the legendary composer's very many iconic film scores. It was recorded with the Roma Sinfonietta Orchestra and pianist Gilda Butta and Morricone himself served as orchestrator, conductor and producer. The album remained on the Billboard Top Classical Albums chart for 105 weeks after its initial release and now this resisted and stunning collection again offers up music from Once Upon a Time in America, The Legend of 1900, The Untouchables, The Good, the Bad and the Ugly, and more. It is a masterful tribute done with sheer class and beautifully orchestrated collaboration.
Review: Madrugada's The Industrial Silence Tour in 2019 took them to play Live At Rockpalast and the show was captured for this limited edition and one-off album. It comes on turquoise coloured vinyl, housed in a sturdy sleeve with three printed innersleeves. The magical live recording came as the band regrouped to celebrate the 20th anniversary of their much loved and vital debut album Industrial Silence. The show in Germany found them at their very best, fully energy and engaged with the crowd not just musically but emotionally. This release has been put together in collaboration with and supervised by the band themselves.
Review: "Of all the many noble attempts of the prog rockers to create a grand compositional style which blended elements from classical music with rock, none, in my view, ever reached the intensity, complexity and raw savage excitement of the great Magma masterworks." When you make music that feels like the love child of a rock & roll musical, gospel choir, Frank Zappa and Ziggy Stardust, why should anyone expect you to be even remotely humble when describing your own back catalogue. Magma's 1974 epic is nothing short of batshit crazy in the true sense - bordering, perhaps sprinting well beyond, the point of genius and capable of rendering any room speechless. A stunning example of how wild, exploratory and experimental the music industry was once so proud to be.
Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.
Review: Considering how much most modern rockers don't talk about the Melvins, or Melvins as the Washington staters should technically be referred to, it's insane how much influence they had on the development of late-20th Century guitar sounds. Without Dale Crover, Buzz Osborne and Steven Shane McDonald, we're not sure there would have been grunge at all. Kicking but not screaming out of the Pacific Northwest in 1983 (at which time Mike Dillard was playing drums, later replaced by Crover), Houdini is their fifth studio album and by this point they'd more than found that legendary groove. Sludgy, thick, stompy and a little bit swampy, these are the riffs that inspire limbs to move of their own accord, setting the tone for a range of bands from Soundgarden and Nirvana to Tool, Sun O))) and Slipknot.
Review: On its original 1986 release, Ministry's "Twitch" album - Al Jourgensen and company's second in total - was seen as something of a departure from their established new-wave synth-pop sound. These days, the Adrian Sherwood co-produced set is considered a vital release that helped to cement the growing global influence of industrial music and, more pertinently, electronic body music (EBM). As this timely reissue proves, it remains one of the band's greatest albums; a throbbing, synthesizer and drum machine driven romp through dark, macabre and muscular musical passions rich in dancefloor-friendly classics (see "We Believe", the surprisingly funky "All Day Remix", Cabaret Voltaire-esque "Over The Shoulder" and "Where You At Now?/Crash & Burn/Twitch", a paranoid and noisy suite of cuts that rounds off the album in breathless fashion.
Review: This reissue brings The Modern Lovers' eponymous debut album back to life, a record that captured the raw energy and poetic spirit of the burgeoning American punk scene at its earliest inception. Originally released in 1976, the album features a collection of iconic tracks, including the anthemic 'Roadrunner' - subsequently covered by everyone from the Sex Pistols to Sleaford Mods and Iggy Pop - the introspective 'Astral Plane', and the quirky ode to 'Pablo Picasso'. Raw and yet sophisticated, with influences ranging from the Velvet Underground to garage rock, this is a real treat.
Review: The Modulations released their album It's Rough Out Here in 1975, not only impressing both industry and laity with the singles 'Rough Out Here and 'I Can't Fight Your Love', but also spurring the considerable career of a funk quartet whose merit outdoes their reputation alone. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International; these sessions yielded this album, one considered a gem of 1970s soul music. Exemplary of the long, wistful titles of the Philly funk era and beyond, the titular roughness of the record is also nonetheless embedded in a sea of audible Romance; the Modulations' hard knocks don't exclude the necessity of letting emotion in, with 'Head On Collision With Heartbreak' being an indelible example of this sense of being swept up in one's own emotions in the face of heartbreak, away from the perseverance aesthetics of "gritty" realism one might expect from a title like this.
Review: Morcheeba have long been masters of that post-party, back-to-yours comedown session. Their trip hop sounds are delightfully deep and woozy, soulful and inspired by a wide world of reference, always with great lyrics, even after original singer Skye Edwards left. Dive Deep was the sixth studio album (second without Skye) by the British band back in 2008 and found them in laid-back mode, as ever, but with the help of several guest vocalists. The two top cuts are 'Blue Chair' and the first single, 'Enjoy The Ride' which, along with the rest, have now been pressed up to limited and numbered 180-gram crystal clear vinyl courtesy of Music on Vinyl.
A Quiet Place In The Country (Suite)/Un Tranquillo Posto Di Campagna (Suite)
Before The Revelation/Prima Della Rivelazione
The Infernal Trio/Il Trio Infernale
Percussively/Percussivamente
Copkiller
Murder On The Lake/Assassinio Sul Lago
Fraction/Frazione
The City Moves La Citta' Si Muove
Thousand Times A Cry/Mille Volte Un Grido
Music For 11 Violins/Musica Per 11 Violini
The Scalpel/Il Bisturi
She Has Come From The Sea/Venuta Dal Mare
Review: Soundtrack maestro Ennio Morricone is back with Psycho, the second in a series of five double vinyl releases that collect his best filmic work. This volume is focussed on his work with Italian directors from the late 1960s up to the 1980s and the music was made for dark films and the occasional horror. This is the Italian's milieu, though, where he feels most at home and gets his best results. This limited pressing on translucent red vinyl includes a four page insert with liner notes written by Claudio Fuiano and plenty of eerie tracks that will have you looking over your shoulder.
Review: There is a glut of Ennio Morricone soundtracks being released at the moment and each one needs to be heard. Following the likes of Cosa Avete Fatto A Solange? and Theme V: Passion comes Istruttoria E Chiusa: Dimentichi from this renowned composer. The film was a 1971 Italian crime drama directed by Damiano Damiani and for it Morricone crafted an obscure score to the thriller which went on to be globally admired by fans and critics alike. A couple of tunes here were not used in the final film having been recorded in the original session and they are the B2 and B3, which both need hearing.
Review: Message From The Country marks a pivotal moment for The Move in 1971, signaling changes on the horizon. The album showcases the band pushing their sound to its limits, incorporating intricate harmonies, lush arrangements, and Beatles-esque influences. Led by Jeff Lynne's songwriting and arranging, the record exhibits a charmingly ornate yet accessible blend of rock and pop-psych elements. Despite facing challenges as a reduced trio and shifting away from live performances, the Move delivered their most complex and cohesive album. From the post-psychedelic title track to the driving energy of 'Ella James' and the airy pop-psychedelia of 'No Time,' each song contributes to a unified and powerful listening experience. Message From The Country holds its own against the White Album with its blend of musical innovation and accessibility. While it may have been overshadowed by the emergence of Electric Light Orchestra, the album remains essential for fans of the Move, ELO, and Roy Wood alike.
Review: Taking influence from death metal, hardcore punk, jazz fusion, speed metal and hip hop - a heady brew of noises if ever there was one - Mudvayne pretty much invented 'math metal' when they landed L.D. 50. Listen hard and you can hear shades of Pearl Jam, King Crimson, Alice In Chains and Obituary. Listen harder still and you'll catch hues of Motley Crue, Porcupine Tree and Stanley Kubrick's 2001: A Space Odyssey. To say L.D. 50 was a brave record would be understating things, then and 24 years after its initial release we can say the same things with similar confidence. Formed from what band member Matthew McDonough termed 'number symbolism', a process of pairing riffs with lyrics based on their thematic similarities, it's a fascinating record technically, but that never overshadows the impact of the tracks themselves.
Review: Idris Muhammad, a prominent American jazz drummer and bandleader, has left an indelible mark on contemporary music as one of its most sampled drummers. His 1976 album House Of The Rising Sun likely fuelled this reputation, thanks to Muhammad's impeccable rhythmic precision. Renowned for his tight, rubbery style, Muhammad's mastery shines through in the six long jazz-funk tracks on the LP. Each piece showcases his unwavering commitment to the craft, delivered with ultra-crisp quality. Despite his acclaim, it's doubtful Muhammad ever faced flying cymbals during his illustrious career, a testament to his undeniable skill and professionalism.
Review: Junior Murvin's Bad Man Possee is a quintessential early Eighties dub reggae album, originally released in 1982. This reissue, pressed on translucent yellow 180 gram audiophile vinyl, arrives to quench the thirst of rare dub record diggers everywhere clamouring for a copy. Featuring the renowned Dread at the Controls studio musicians, the Roots Radics Band, the album delivers hypnotic tracks that complement the standout title track. 'Guitar' is a haunting homage to Murvin's first guitar, gliding effortlessly over a captivating rhythm. Murvin's versatility shines through as he navigates the poignant 'Never Fall in Love' and the politically charged 'Rebellion,' maintaining a consistently high musical quality. His distinctive doo-wop-inspired falsetto nods to r&b traditions while embracing elements of ska, rocksteady, and dub all of which now come as a limited edition of 750 numbered translucent yellow vinyl.. The album concludes with the remarkable 'Man Is the Fire.'
Review: It's been far too long since this seminal slice of sprightly, swinging jazz from Stanley Turrentine and Milt Jackson was in arms reach. Originally released in 1972, Cherry is a stunning piece of work that also features the mighty Billy Cobham on drums, Ron Carter on bass and Bob James on keys, backing up Jackson's dexterous vibraphone flexing and Turrentine's lyrical sax. This repress on Music On Vinyl comes housed in a numbered, gatefold sleeve with the music itself pressed into gorgeous pink wax.
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