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Electronic Music for the Mind and Body - Various Artists

Electronic Music for the Mind and Body
Five historic electronic compositions from a quartet of important modern twentieth century composers, Stockhausen, Cage, Ligeti and Xenakis.

With the breathtaking, meticulously organised Kontakte, Stockhausen demonstrated his musical and dramatical genius and that he was an incredible inventor of new sounds. The piece has been described as 'a unique document of analogue electronic music production methods, and a valuable guide to the composer's art of creative self-provocation.'

Kontakte is perhaps Stockhausen's best known work and this version for electronic sounds was realised by the composer between September 1959 and May 1960. The alternate, Kontakte for electronic sounds, piano and percussion, utilises the same electronic tape but did not emerge until later. In the sixties, everybody was talking about Stockhausen. Paul McCartney had Abbey Road engineers dissect Kontakte (along with the composers' other major work of the period, Gesang der Jünglinge, with a view to appropriating its effects for the groundbreaking Tomorrow Never Knows. Then in June 1967 the Beatles again paid homage to the composer by including his image in Peter Blake's collage on the front cover of Sgt Pepper's Lonely Hearts Club Band.

Inspired by Edgard Varèse and the Italian Futurists, Greek composer Iannis Xenakis came from a background of engineering, mathematics and architecture (he was an assistant of Le Corbusier) These interests combined to create a vibrant body of work which embraced orchestral and chamber works, vocal and computer-generated music; what the composer described as "absolute music with a computer, free of tradition and contemporary trends."

In 1960, Xenakis was commissioned by UNESCO to write the score to Enrico Fulchignoni's Orient-Occident, a film about civilisations around the world. What transpired was an uncompromising but elegant work that is regarded to be one of the composer's most accessible. Two years later, Xenakis determined to create a concert version, editing the original, twenty-two minute long soundtrack down to less than eleven minutes.

In 1956 the Hungarian György Ligeti composed the electronic conversation piece Artikulation after moving to Cologne into the same building as sound pioneers Karlheinz Stockhausen and Gottfried Michael Koenig. While its reported that he was highly influenced by the crazy electronic sounds he heard coming out of this building this is one of only two electronic pieces he composed before returning back to the instrumental medium. Ligeti's music is forever linked with the films of Stanley Kubrick, and, most famously, 2001: A Space Odyssey, the director's cinematic visualisation of alien intelligence, which utilises excerpts from Atmospheres, Lux Aeterna, Requiem (the Kyrie) and an electronically altered version of Aventures.

The juxtaposition of this music and images proved brilliantly effective and Kubrick turned again to Ligeti when making the The Shining and Eyes Wide Shut, using, respectively, Lontano for orchestra and the second movement of Musica ricercata. Through Kubrick's films therefore, Ligeti succeeded in reaching a far wider audience than most contemporary composers dare dream of.
We also celebrate the work of John Cage, one of America's most influential - and controversial - composers with the inclusion of two major works.

Cartridge Music (1960), derives from its use of "cartridges," phonograph pick-ups into which needles are inserted for playing recordings. Various suitable objects (toothpicks, matches, slinkies, piano wires, feathers, etc) are inserted in the cartridges. The sounds which result are noises, some complex, others extremely simple such as amplifier feed-back, loud-speaker hum, etc
Described by Cage as "a camera from which anyone can take a photograph," Fontana Mix (1958) was assembled at the Studio di Fonologia in Milan and finds the composer dividing his sound sources into six classes; city sounds, country sounds, electronic sounds, manually produced (meaning "instrumental") sounds, wind-produced sounds (such as singing), and small sounds that require amplification, such as crickets chirping. The work subsequently appeared in a number of contexts, here the soprano Cathy Berberian combines it with Aria, another Cage piece of similar vintage.

Available 19/08/2013

Our Price: £9.95
Code: ACMEM254CD
Weight: 200
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1. KARLHEINZ STOCKHAUSEN – Kontakte
2. IANNIS XENAKIS – Orient-Occident
3. GYÖRGY LIGETI – Artikulation
4. JOHN CAGE – Cartridge Music
5. JOHN CAGE – Aria with Fontana Mix
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At Cranbrook And Elsewhere
Released on 21/09/09. A virtuoso of the tenor sax, flue and oboe, Lateef worked with Dizzy Gillespie, Charles Mingus, Cannonball Adderley, Miles Davis and Grant Green and is today best known for his innovative blending of eastern music with American jazz, paving the way for the likes of John Coltrane who would open up this musical territory in the sixties. At Cranbrook is Lateef’srarest album, and one of the few that has never previously been re-issued on CD. Our edition comprises the original album, recorded live at Cranbrook Academy of Art on April 9 1958 and is augmented by brilliantly adventurous repertoire from sessions recorded in - for Yusef, the hectic pivotal year - of 1957. These selections are those that founded his reputation as a pioneer for World Music. Compositions involving such exotic instrumentation as the one-stringed instrument, the rebab, finger cymbals, the scraped gourd, castanets and the argool, the unusual timbres and colours of which would have come as a huge shock to the listener back in the Fifties. Today, Yusef Lateef is held in international esteem and his work, so far ahead of it’s time half a century ago, has never seemed more essential. Strong export potential to America and all specialist jazz and world music outlets everywhere. Our Price: £9.95

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A Life In Music 2CD
Ravi Shankar, who died aged 92, in December 2012, was the musical visionary who thanks to the cultural influences of his family, the advantages of a disciplined classical background and a heady sixties association with George Harrison and The Beatles, established the sitar and the raga into western consciousness. He was thus the first performer and composer to bridge the musical gap between India and the west.
Ravi Shankar is already considered to have been one of the greatest musicians of the twentieth century.
Ravi's first musical ventures were as a child, appearing in his brother Uday's dance company in America and France. In his teens he was apprenticed to the sarod master, Allauddin Khan under who's demanding tutelage he would inherit the great tradition of Indian classical music.
By the time his first met George Harrison and Paul McCartney in 1966, Shankar had given recitals with Khan's son, the sarodist, Ali Akbar Khan, served as musical director of All India Radio's first National Orchestra, and been sent to all points on cultural tours by the Indian government. He had composed elegant film themes for Satyajit Ray's Apu Trilogy, and taught and befriended the jazz musicians John Coltrane and Don Ellis.
Ravi met the Beatles at a point when the Fab Four were looking to expand their musical language and to make deeper artistic statements. Legend has it that they had already been introduced to Ravi's music by Byrds guitarist Roger McGuinn at an LSD party in Los Angeles and indeed they dabbled with the sitar on the 1965 hit, Norwegian Wood. On meeting Ravi Shankar, George Harrison determined to take the instrument seriously, soon journeying to meet Ravi in India for a period of intensive tuition. There by the banks of the Dal Lake in Srinagar, the guitarist was inspired to write Within You Without You for the album, Sgt Pepper's Lonely Hearts Club Band, The Beatles' tribute to Ravi Shankar.
The flower-power generation were beguiled by Ravi. He appeared at the
Monterey and Woodstock Festivals, and at the Concert for Bangledesh in New York in 1971 and made no attempt attempt to conceal his appreciation of the adulation, "Though I had been performing all over the world since 1954, my association with George attracted a whole young generation to sitar and to me from the mid-1960s. Even though I didn't make any record jamming with him or any other pop or rock star, I was treated like a superstar, being the Beatle George's guru.”
The recordings featured here are likely those that turned the The Beatles
on to Ravi. They were made between 1956 and 1962 and for all the success that followed they are arguably the pinnacle of his recorded artistry.

Release Date: 11/03/2013

Our Price: £10.95

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SCARED TO GET HAPPY A STORY OF INDIE-POP 1980-1989
SCARED TO GET HAPPY (A Story Of Indie Pop 1980-1989) is the first box set ever to document the explosion of Indie Pop in Britain across the 1980s. Compiled in loosely chronological fashion, the five CDs chart Indie Pop’s development from the post punk era and the dominance of Scottish bands through to its genre-defining C86 period and onto the end of the decade, with the arrival of Madchester and the shoegazing sound.

Inspired by the Nuggets compilations, the box set boasts 134 tracks spanning the Eighties, drawn from all the key labels of the period – Creation, Factory, Cherry Red, Rough Trade, Sarah, Subway Organisation, Zoo, Kitchenware, Pink, Chapter 22, In Tape, Medium Cool, Lazy, Dreamworld, 53rd & 3rd, Ron Johnson, el, Vindaloo, Red Rhino, Food, etc.

Many of the bands later tasted mainstream success: Primal Scream, Aztec Camera, Stone Roses, Pulp, the Wonder Stuff, Lloyd Cole & The Commotions, the Inspiral Carpets, the Soup Dragons, the Wedding Present, James, the La’s, del Amitri, the Primitives, the Jesus & Mary Chain, Prefab Sprout, the Shamen, Cud, the Bluebells, Black, the House Of Love, Strawberry Switchblade, Pop Will Eat Itself, the Darling Buds, Fuzzbox, That Petrol Emotion, the Railway Children, Jamie Wednesday (as Carter USM), the Milltown Brothers and the Boo Radleys.  

The box set boasts a stylish 54-page booklet with a lengthy sleeve-note detailing each track and illustrations of the records and bands involved.

A few tracks (Strawberry Switchblade, Soup Dragons, Bluebells, Close Lobsters, etc.) have never officially been released before. Many others are extremely rare and make their debut on CD.

SCARED TO GET HAPPY will be promoted by a mini-festival at London’s 229 club on June 22nd, with an impressive roster: the Primitives, the BMX Bandits, the Brilliant Corners, the June Brides, Mighty Mighty, the Wolfhounds, the Popguns, 14 Iced Bears, the Blue Orchids and Yeah Yeah Noh.  

RELEASE DATE: 24/06/2013
Our Price: £30.95

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Logg
LOGG was a high profile project on Salsoul Records fronted by the prolific and inventive singer/songwriter/keyboardist and producer Leroy Burgess. The majority of Burgess’s output is on rare 12” singles and out of print albums and are highly sought after by crate diggers across the world.
Produced by both Burgess and Salsoul stalwart Greg Carmichael LOGG is a very high calibre album from the disco period which Burgess used as a showcase for his own wide ranging talents and that of his solid rhythm section James Calloway (bass) and Sonny Davenport (drums). All three players co-wrote every track on the LP.
As LOGG was one of Larry Levan’s favourite projects the irrepressible Paradise Garage DJ supported Burgess by spinning several Logg tracks in his club sets helping to guarantee a legendary status for the project.
‘I Know You Will’, the first single from LOGG (R&B #80), and the follow up ‘(You’ve Got) That Something’, along with ‘Dancing Into The Stars’, ‘Something Else’ and ‘Sweet To Me’ all became instant dance floor classics thanks to the support of Larry Levan and still delight dance floors across the globe today. This edition also features the ultimate Burgess classics ‘Heartbreaker’ and ‘Stranger’.
BBR is very proud to present LOGG, expertly re-mastered and complete with extensive liner notes and bonus tracks. LOGG is absolutely essential listening for all Soul, Funk, Disco and Dance fans out there!

Release Date: 29/07/2013
Our Price: £9.95

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Discotheque
HERBIE MANN (born Herbert Jay Solomon) was one of Jazz music’s most prolific performers and innovators excelling predominantly on flute, but also tenor saxophone, clarinet and bass clarinet. Throughout the 50’s and 60’s Mann played in many groups exploring the boundaries of Jazz by absorbing Afro-Latin themes and recording and touring throughout the world. During this time he was able to nurture some of the greatest Jazz musicians as his sidemen, most notably Willie Bobo, Chick Corea, Roy Ayers and David Newman.
In the 70’s Mann extended his repertoire further by incorporating rock, pop, reggae and disco into his sound, which included this 1975 offering on Atlantic Records, DISCOTHEQUE. The album boasts a number of great jazzy grooves that show off Mann’s incredible dexterity on the flute and employs his vast experience to its full extent. DISCOTHEQUE was received very well in Jazz, R&B, Pop and Disco markets on its release achieving #5, #19 and #27 on the Billboard Jazz, R&B and Pop album charts respectively.
The albums one and only single was an instrumental cover of ‘Hi-Jack,’ which was originally recorded by Latin influenced Funk group Barrabas in 1974, and again confirmed the wide appeal that Mann enjoyed as it charted at #14 Pop, #24 R&B and an incredible #1 on Billboards Disco Action chart as the track lit up dance floors across the USA. Other notable tracks are the self-penned ‘High Above The Andes,’ showing off Mann’s love of the Latin groove, and a gorgeous rendition of Stevie Wonders ‘Bird Of Beauty.’ This edition also features the non-album B-side ‘Orient Express’ and the original unedited version of ‘Hi-Jack’.
BBR is very proud to bring you DISCOTHEQUE, completely re-mastered and repackaged complete with extensive liner notes and extended bonus content. DISCOTHEQUE is a must have for all (Latin) Jazz, Funk and Dance/Disco fans out there!

Release Date: 04/11/2013
Our Price: £9.95

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