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Voted one of the best albums of 1974 by NME critics , it also attracted the attention of Brian Eno, resulting in Frith playing guitar on two of Eno‘s albums.\u003c\/p\u003e\u003cp\u003eFrith‘s never tiring spirit in creating and performing music has made him one of the most notable and creative guitar players and musicians in the scene of improvised and composed music. \u003c\/p\u003e\u003cp\u003eFor the anniversary of this release the label encouraged Frith to arrange a set up similar to what he used 50 years ago to record an album of new compositions which accompany the original record.\u003c\/p\u003e","brand":"Week-End Records","offers":[{"title":"Black LPx2.","offer_id":50380230951243,"sku":"2173712","price":49.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/WE5_587caaca_thumbnail_4096.jpg?v=1726211309"},{"product_id":"improvisation-on-four-sequences","title":"Improvisation On Four Sequences","description":"\u003cp\u003eSuzanne Ciani’s \u003ci\u003eImprovisation On Four Sequences\u003c\/i\u003e somehow represents the complete history of electronic music, as the enthusiastic audience at Week- End Fest 2021 were lucky enough to experience.\u003c\/p\u003e\u003cp\u003eFrom the awakening of American avant-garde music at the end of the 1960s, right through to the development of the electronic sound of the club scene in L.A. and New York. But above all it is the dialogue between artist and machine, which simply ends when the concert is over, that comes across. Laconicism, precision, sound sensitivity and the weight of a tradition that Ciani was instrumental in founding all come together. 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Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own. \u003c\/p\u003e\u003cp\u003eAs his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePlaying It Cool and Playing It Right\u003c\/i\u003e was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and \u003ci\u003ePlaying It Cool and Playing It Right\u003c\/i\u003e follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePlaying It Cool and Playing It Right \u003c\/i\u003econtinues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. \"Too much formula,\" sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. \"Darkest night,\" answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. 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A love letter to spacetime, it channels a century of musical intelligence into seven tracks, showing Allen at his most protean—freely moving from relaxed, transdimensional palettes to bluesy big band and beyond.\u003c\/p\u003e\n\u003cp\u003eThe title track “New Dawn” is the centerpiece of this impressive album and the arranger Knoel Scott wrote the lyrics himself. We are thrilled to have the incomparable Neneh Cherry, stepdaughter of legendary jazz musician Don Cherry, lend her unmistakable voice to this song.\u003c\/p\u003e\n\u003cp\u003e“It’s gorgeous! Neneh is a jazz singer now! 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The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.\u003c\/span\u003e\u003c\/p\u003e","brand":"Week-End Records","offers":[{"title":"LP - Black","offer_id":57717272805707,"sku":"R5444-9399","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/WE24-Edu-Lobo-Cover-3000px-1_e4012efb-0f75-4bd2-bc8a-f382eae58775.jpg?v=1782719621"},{"product_id":"upsetters-14-dub-black-board-jungle","title":"Upsetters 14 Dub Black Board Jungle","description":"\u003cp\u003eFirst released in Jamaica in December 1972, \u003ci\u003eUpsetters 14 Dub Black Board Jungle\u003c\/i\u003e is widely regarded as one of the first full-length dub albums and a genuine reggae landmark. Produced by \u003cb\u003eLee “Scratch” Perry\u003c\/b\u003e and mixed by \u003cb\u003eKing Tubby\u003c\/b\u003e, it helped redefine the producer and engineer as artists in their own right.\u003c\/p\u003e\n\n\u003cp\u003eBuilt from Upsetters rhythm tracks recorded between 1970 and 1972, the album strips reggae down to bass, drums and space. Vocals flicker in and out, drumbeats are isolated, and spring reverb and tape delay send sounds deep into the mix, with silence playing a vital role.\u003c\/p\u003e\n\n\u003cp\u003eMore than a collection of versions, this is the point where dub became a full long-playing art form. Perry’s psychedelic ideas and the Upsetters’ groove-driven playing opened the door for generations of reggae producers, while its studio techniques still echo through post-punk, hip-hop, electronic music and ambient sound design.\u003c\/p\u003e","brand":"Week-End Records","offers":[{"title":"LP - Black","offer_id":58182774620491,"sku":"R2164-1468","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/WE21SRD.jpg?v=1787158716"}],"url":"https:\/\/shop.roughtrade.com\/collections\/week-end-records.oembed","provider":"Rough Trade","version":"1.0","type":"link"}