Review: The colourful obi strip astride the cover of this audiophile reissue boasts that Imani's "Out of The Blue" album is "the ultimate private press jazz holy grail". While that claim is debatable, copies of the Gilles Peterson championed 1983 edition, which the San Francisco based band pressed up themselves, have been known to change hands for four-figure sums. Musically, the four tracks are breezy, sunny and summery. Opener "Just Another Love Song" sets the tone, with soulful group vocals and jazz solos rising above a warm groove, while "Somebody's Love" is a slow jam smothered in spacey synthesizers. "Byrd's House" is a jazz-funk dancefloor number - this time blessed with extended, eyes-closed guitar and piano solos - while "Friendship Cover Charge" is a stomping peak-time workout that should send dancers spinning.
Review: Ah, a real gem of the NYC No Wave era is the focus of Dark Entries attentions here as the stunning Holland Tunnel Dive by ImpLOG is given a more than timely reissue. For the uninitiated out there, ImpLOG were formed by The Contortions band members Don Christensen and Jody Harris under the name ImpLOG, after the former left the iconic No Wave act in 1979, and released just the two records together. The story goes that Christensen's recorded experiments with found sounds, and an array of instruments such as a Univox drum machine and Casio keyboards impressed Lust/Unlust Records founder Charles Ball sufficiently enough to issue two tracks from the submitted demo tape as the Holland Tunnel Dive 12? in 1980. It's remained a highly prized record ever since and this lovingly recreated edition from Dark Entries is a must!
Review: It's always a pleasure to find another release from those well-dressed men: Interpol. That great New York band that defined an era and a sound of their own with a stretch of LPs across the 2000s; from Turn On The Bright Lights all the way to 2010's self-titled triumph. With the release of "A Fine Mess" there's seems to be a new influx of energy dedicated to their 2019 world tour, laced with the group's unique tonic of melancholia, of course. This is undeniably heard on opener "Fine Mess", and at five tracks long it's something of a mini album. Recorded during their time spent in upstate New York with acclaimed producer Dave Fridmann (think Mercury Rev, The Flaming Lips and Mogwai), the resulting collection of tracks delivers something of a fiery compliment to the deep and visceral energy heard on their sixth studio album "Marauder". Long live Interpol.
Review: The Fryers sub-label of Jazzman Records come correct once again with this crucial 7" reissue from The Isley Brothers! With a career spanning some 50 years and covering R&B, Rock, Funk, Soul and Disco, it's fair to say The Isley Brothers have been one of the most influential groups on how 20th Century music turned out, yet few people actually know that their universally regarded 1973 hit "That Lady" was in fact a cover version of a track they'd previously recorded a decade earlier. Presented here in all its dusty glory, "Who's That Lady" is a jazzy doo-wop workout that will have the collectors out there running towards the turntables to find out whose version it is. On the flip is their wonderful version of the Blues standard "St. Louis Blues" which has been freshly pressed from the original master tapes!
Cameron Allen & Graham Bidstrup - "Bikini Atoll" (3:40)
Foot & Mouth - "I Want My Mummy" (4:15)
Review: An intriguing confection put together by two Antipodean crate-diggers with an ear for the eccentricities and heroic creative travails of a generation of yore, 'Midnight Spares' chronicles a predominantly '80s era in which bedroom musicians took a post-punk DIY sensibility to create work that still rings out with originality and ingenuity decades on. Collected from manifold unusual sources, this compendium takes in early synth-pop, menacing lo-fi soundtrack work, a stray emigre member of The Flying Pickets, and even an early foray into recording from the members of legendary Ozpunk scamps God. Lurking somewhere between the spirit of John Peel and the world of outsider art, the resulting assemblage is a must-have for chroniclers of the weird and wonderful.
Review: Following the release of Iggy Pop's last full length, Post Pop Depression, the much loved punk professional has teamed up with pioneering electronic dance musos Underworld (think "Born Slippy") via the request of Rick Smith. Album opener, "Bells & Circles", sees Iggy relive the days when you could smoke on an aeroplane, and in his case pick up an air hostess, while a rich and throaty yet somewhat forlorn 'hey' in "I'll See Big" offers a classic, almost narrated number of nostalgia, with a hint of reverb adding a sweetness to a not so bitter regalement of times gone by. Meanwhile, "Get Your Shirt" pitches the bliss of 80s new wave with mid-90s rave to create a glittering, electro pop jam fit for the stadium or Soho club. The glory years may be a memory for this formidable tripod however their sounds, combined, still hit the sweet spot.