A1 - Everything That Shines Ain't Gold (Part One and Two)
B2 - Everything That Shines Ain't Gold
A few years ago, Melodies family members Floating Points and DJ Red Greg got their hands on a couple of original 70s obscurities. While these standout records shone brightly in their own right, the two DJs saw the potential to create their own edits behind the scenes, finely attuning the original versions to modern-day dancefloor standards. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs. Today, Melodies International is very proud to bring you MEL006 and MEL007. Fully licensed, lovingly mastered to the highest possible standards and carefully edited to dial up that dancefloor enjoyment, these two ‘You’re A Melody’ classics weren’t originally meant to get official releases. But due to popular request, they are now available to play and share in very special moments at parties around the world. MEL7, Maurice Moore’s ethereal Hammond bass soul anthem “Everything That Shines Ain’t Gold”, is pressed as a 12-inch, with parts 1 and 2 from the original 7-inch merged on one side, and the FP edit on the flip. A multi-instrumentalist, the talented Moore grew up in Chicago listening to music from the local scene, including the likes of Etta James, Boe Diddly and Chuck Berry. Unable to pay for guitar lessons, Moore learned what a major, a minor and a 7th chord were from his uncle and went from there. After opening for legendary acts such as James Brown, Parliament, Funkadelic and Kool & the Gang, Moore and his band went on to record their debut album in 1976 before he took a back seat in the 80s to focus on the business side of things – a period when he fell in love with the process of bringing amazing music to the world. To this day, this record holds true to his passion. Written in 20 minutes, “Everything That Shines Ain’t Gold” gains a new lease of life on MEL7 – exactly 40 years after its original 1977 release.
A - Disco Baby
B - Disco Baby
A few years ago, Melodies family members Floating Points and DJ Red Greg got their hands on a couple of original 70s obscurities. While these standout records shone brightly in their own right, the two DJs saw the potential to create their own edits behind the scenes, finely attuning the original versions to modern-day dancefloor standards. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs. Today, Melodies International is very proud to bring you MEL006 and MEL007. Fully licensed, lovingly mastered to the highest possible standards and carefully edited to dial up that dancefloor enjoyment, these two ‘You’re A Melody’ classics weren’t originally meant to get official releases. But due to popular request, they are now available to play and share in very special moments at parties around the world. MEL6 arrives as a 7-inch, with the original version and the edit on the flip. First released in 1979 as a three-minute up-tempo library recording, “Disco Baby”, one of 10 tracks off a record available to license for film, radio, television and other media, held some hidden magic that would only get uncovered almost four decades later. Informed by years of combined dancefloor experience, Floating Points and Red Greg have slightly tweaked the original material, realising that played in the right context, it can become a true disco anthem.
A1 - The Doctrines Of Swedenborg
A2 - Calling The Loas
B1 - Dimensions Of Frequency & Vibrations
B2 - Ashrams
Last year 2017, Hieroglyphic Being (producer of astral electronic explorations touching house, techno, industrial, avant-jazz and noise); percussionist and producer Sarathy Korwar (who fused traditional folk music of the Sidi community in India with jazz and electronics on his debut album “Day To Day” released by Ninja Tune in collaboration with The Steve Reid Foundation); and Shabaka Hutchings (the highly respected British saxophonist and co-founder of Sons Of Kemet, Mercury-nominated The Comet Is Coming and Shabaka & The Ancestors) - recorded a 100% live improvised session at the iconic Lightship95 studio moored at Trinity Buoy Wharf, London. They recorded over 2.5 hours of music across 2 sessions, with 90 minutes streamed live via NTS.
A1 - Flickering Debris
A2 - Touch Absence
B1 - Hyphen To Splice
B2 - Voices Near The Hypocentre
A skyscraper extending its fingertips upwards, outstretched and pointing towards an unmarked ceiling that extends even more itself, spinning and slicing its way through the horizontal and the layers that are see through and infinite and stacked one on top of the other. Currently getting plays by AFX and more...
A1 - Did You Give The World Some Love Today,Baby
A2 - I Wish I Knew
A3 - Grey Rain Of Sweden
A4 - Waiting At The Station
A5 - Don't
A6 - Daisies
B1 - You Never Come Closer
B2 - Whispering Pine
Originally released on EMI Sweden, original copies of this album still change hands in excess of $500. This was Doris' jazz album though it contains more than a hint of Joni Mitchell, Led Zeppelin, and the like. Backed by her husband Lukas Lindholm on bass she was able to lay down some seriously funky bass lines on tracks like Don't and Beatmaker. On You Never Come Closer, an experimental track that was way ahead of its time, Janne Carlsson unleashes a fearsome sound on drums helped by Bernot Egerladh on organ. This brand-new repress of our tenth release uses a new master and carefully restored artwork we created from original copies, to bring you the highest quality reproduction possible…
A - Manhã
AA - America Latina
A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.
A - Deixa Rodar
AA - To Parado Na Tua
‘Deixa Rodar’ is an essential midtempo disco/boogie jam taken from Hanna’s ‘Deixa Rodar’ LP from 1979. A tip off from our good friend Mark ‘GV’ Taylor, played at the first of our ‘Braziloid’ sessions on Brighton sea front.‘To Parado Na Tua’ is another killer midtempo disco/boogie cut, produced by the legendary Lincoln Olivetti and Robson Jorge, released in 1984. Taken from the sought after and now fairly pricey ‘Festa Funk’ LP on RGE.
A - Na Boca Do Sol
B - A Hora é Essa
Moving further into the '70s Brazilian scene, Mr Bongo delivers two supreme pop scorchers by Celia, the sweet-faced artiste who released so much great music back in the day. Her "Na Boca Do Sol" is a gentle soul journey that brings out the best in her own voice, and in the Brazilian style of that era. "A Hora E Essa" is more of a dancefloor tune, more uptempo and less reliant on the sensuality and sexiness of the A-side.
A - Olhos Coloridos
B - Bons Tempo: Sao Paulo (Good Times)
‘Olhos Coloridos’ is an 80’s MPB/boogie jam, thats sits perfectly alongside the likes of Maia, Valle, Jorge and Olivetti. Backed here, by some of the members from Banda Black Rio. Taken from her self-titled 1982 LP on RGE Brazil.‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7" from 1980, this is a Brazilian boogie version of Good Times by Chic / Rapper's Delight, voiced by radio DJs from Sao Paulo especially for the Christmas holiday season!The replayed version of ‘Good Times’ stands up to the Chic version, and the added cuica heavy percussion breakdown gives it the true Brazilian flavour.