Suspense is a library LP of cinematic, proto-electro vignettes tied together with tense, dramatic melodies befitting of its title. Conceived in mid-1970's Paris, Suspense soundtracks an eerie motion picture that would never be made. We're proud to present this legendary work on the fortieth anniversary of its creation, remastered from the original tapes by Fèvre.
A one-night-only concert was held at New York City’s Town Hall last fall, to celebrate the music of the Coen brothers film Inside Llewyn Davis. The evening was filmed for a documentary that was broadcast by Showtime last winter, and now Nonesuch Records releases a live recording of the concert, Another Day, Another Time: Celebrating the Music of “Inside Llewyn Davis,” on January 13, 2015. The concert, documentary, and live album were produced by Inside Llewyn Davis writer/director/producers Joel and Ethan Coen and soundtrack producer T Bone Burnett. (Nonesuch also released the film’s soundtrack.) The concert poster included with the first 200 Nonesuch Store pre-orders are no longer available.
Released in 1970, Just a Little Lovin' was the fourth (and last) studio album Carmen McRae cut for Atlantic Records in the late '60s/early '70s. The albums were for the most part a mix of pop and jazz songs with a decidedly pop angle. Just a Little Lovin' isn't too different, though it leans more toward the soulful end of the street. Producer Arif Mardin put McRae together with the Dixie Flyers studio band, backup singers extraordinaire the Sweet Inspirations, and an all-star horn section led by King Curtis, and then let her loose on the usual Beatles covers (a lifeless "Something," a very relaxed and sensual "Here, There and Everywhere," and a dramatic take on "Carry That Weight") and pop tunes like Jimmy Webb's "Didn't We" and Laura Nyro's "Goodbye Joe."
After 40 years, a number of ill-conceived posthumous albums, and countless bootlegs, one would almost have to be skeptical of a new album billed as "12 previously unreleased studio recordings - almost 60 minutes of unheard Jimi Hendrix!" The good news is that Valleys of Neptune largely delivers on that promise. Even hardcore collectors will likely be surprised at how much of this album they haven't heard. But much of this material has been available before in some form, official and otherwise. Although there were tons of posthumous overdubs, elements of these very versions of "Stone Free" and "Hear My Train Comin'" were used as building blocks for the versions on Crash Landing and Midnight Lightning, respectively…
In the mid 1960’s, Detroit Michigan was a thriving industrial city. It was at the edge of a cliff, however. The great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in the affluent suburbs just outside of the city of Detroit, that Index was formed. The music of Index has been lauded by music heads for decades, and with good reason: it is bizarre, atmospheric, and “home-made” (in the best of all possible ways); the band has a druggie sound, with songs full of feedback and fuzzy guitars…
Labcabincalifornia is the second album by The Pharcyde, released in 1995, three years after their debut Bizarre Ride II the Pharcyde. The album's production was handled by The Pharcyde themselves and Jay Dee, with additional help from Diamond D and M-Walk. Labcabincalifirnia on 3 CD Set which features the complete album, instrumentals and all the B Sides & Remixes.
Britain's Jamie Cullum's sixth studio album, 2013's Momentum, finds the jazz-influenced singer/songwriter flexing his creative muscles on a stylistically varied set. Working with a variety of instruments from vintage keyboards to electronic samples and beats, Cullum clearly used this project to expand his sonic palette.
Wanita is a mild quantum leap from Traore's debut, Mouneissa. The style she cultivated on her debut – a glorious mix of the singer/songwriter with the rootsy, acoustic instruments of her native Mali – is refined here, and she approaches everything with more confidence. She's very much a rarity in African terms, a female singer/songwriter, and one whose lyrics are very progressive, dealing with the rights of women in a patriarchal society. But she's representative of a new generation that has brought forth a lot of professional women, for whom she's become a figurehead.
Finally, a disc that combines Sinatra’s hits for Capitol and his hits for Reprise!…