Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, 'Aspan' delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove. In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication "Songlines" has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar." The album opens with "Wembley," radiating a summery festival vibe. The track kicks off with a distinctive guitar riff that drew parallels to classic stadium rock, inspiring its name after London's iconic ninety-thousand-seat venue. The track evolves with prominent organ and bass riffs, culminating in a surprising addition of an electric saz—a recent Istanbul acquisition—imbuing a Turkish touch that echoes the Indian sitar's influence on 60s rock, notably bands like The Beatles. "Fa Sol La" follows suit, named simply after its bass-led melody. The lively drumbeat and catchy riffs exude an upbeat energy that's bound to induce joyous reactions from listeners. Around the two-thirds mark, a dreamy guitar interlude elevates tension before easing into a shift towards a more progressive and rhythmic direction. The title track, "Aspan," takes its name from a nonexistent storm. The song impeccably showcases the band's cohesion, with guitar, bass, drums, and organ intricately locked into a mesmerizing groove. The origin of the title stems from a misinterpretation of an upcoming storm named Alpis that proved to be milder than anticipated. The name resonated, resulting in several tracks adopting storm-related titles. Concluding the album is "Indra," a laidback composition that stands as its most serene offering. This track's fusion of psychedelic folk rock is poised to capture the hearts of many, serving as a poignant postscript to the bittersweet conclusion of summer—a narrative of love discovered and lost. The expansive and captivating soundscape of 'Aspan' is set to attract a fresh wave of fans while fortifying the group's mastery of substantial grooves with a distinct Middle Eastern essence. With appearances already on European festival stages, the year 2024 holds great promise for Sababa 5, marking a significant chapter in the band's journey. credits released November 17, 2023 Guitar - Ilan Smilan Bass - Amir Sadot Drums - Raz Man Keys - Eitan Drabkin Recorded at Eilat Studios, January 2023 Mix by Ilan Smilan Master by Doug Krebs Artwork by Alon Tayar ℗ © Batov Records 2023 | BTR086 Distributed by !K7 Music

一张由知名DJ介绍后评价不断升高的日本Boogie / Urban Soul稀有热门唱片，如今通过最新母带处理（mastering）重新制作并发行CD！ 这张专辑是当山瞳的第5张专辑。她是一位来自冲绳、实力强劲的双语歌手（bilingual singer），并被同时以井田リエ & 42nd Street等作品闻名的音乐人Hikaru “flash” Kanematsu（兼松光）发掘。 这张专辑由 Hikaru “flash” Kanematsu 担任制作人。专辑中使用了Drumulator（E-MU公司，1983年推出的鼓机）。 参与演奏的音乐人包括： • 椎名和夫（吉他） • 松下诚（吉他） • Mike Dunn（贝斯） • 难波弘之（键盘） 等人，阵容也十分值得关注。 本次再版使用原始母带，并进行了2013年全新数字重制（digital remastering）。

This is a thoughtfully considered album of quiet, confident R&B: it doesn't jump out at you, but rather gets in you. Produced by John Carroll Kirby, the like-minded artist and collaborator with Frank Ocean and Solange Knowles, it features restrained percussion from Kanye West’s Sunday Service drummer Lamar Carter. Celestial soul as a break from chaos, these are quietly challenging songs as timeless as they are contemporary. “What a rare and cool challenge it was for me to help Eddie re-emerge after a long hiatus,” says John Carroll Kirby. “I was excited to produce a record for him that captured the chill, laid-back wisdom and easy vocal mastery he has that you don’t see that much these days.” Lead single “My Mind Is Out of Its Mind” finds a deep groove to try and contain spiraling heartbreak, while the sweet and fizzy “Trouble” balances the downcast “Hurt” and more tender “Papa.” But even the project’s lightest moments feel sincere and mature. Altogether: a truly unifying release, coming from a man who's earned the right to share such a regal, romantic sound. credits released July 31, 2020 - Music & Lyrics by Eddie Chacon and John Carroll Kirby - Produced by John Carroll Kirby - Drums by Lemar Carter - Art by Justin Sloane - Recorded at Sun King Studios - Mastered by Dave Cooley

Four Seasons of Love is the fourth studio album by American singer-songwriter Donna Summer. Released on October 11, 1976, this concept album became her third consecutive successful album to be certified gold in the US. It peaked at #29 on the Billboard 200.

当山 ひとみ（とうやま ひとみ）は、日本の歌手。 別名義にPENNYがある。 沖縄県出身。

クレジット Bass – Kazuya Sugimoto, Ken Watanabe, Kenji Takamizu, Yasuo Tomikura Brass – Eiji Arai, Susumu Kazuhara Chorus – Ryudo Uzaki Directed By – Hidemaro Kudo Drums – Jun Aoyama, Koji Takeda, Takeda Mitsuji, Toshinobu Takimoto, Yuichi Togashiki Guitar – Masaki Matsubara, Tsunehide Matsuki, Tsuyoshi Kon Keyboards – Haruo Togashi, Hideo Ichikawa, Koji Ryuzaki Percussion – Eiji Narushima, Pecker, Tadaomi Anai, Tatsuji Yokoyama Producer – Jake H. Concepcion Strings – Kobayashi Group Vocals, Saxophone, Flute, Clarinet, Whistle – Jake H. Concepcion

Motown meets West Africa on Eboni Band's self-titled 1980 debut album featuring Motown session musicians and Fred Wesley with production and arrangements from Motown legends Art Stewart and Greg Middleton. 41 years since its original release, Eboni Band's self-titled album receives its first ever re-release by Canadian label We Are Busy Bodies on June 18. Reinventing itself as a record for the ages, a tour-de-force of cross continental soul and funk, it features session musicians from Motown and Ivory Coast's Eboni Records alongside Fred Wesley (James Brown/Parlimanent). It was produced by Art Stewart (producer of Marvin Gaye's Got To Give It Up and Rick James’ breakthrough album, Come Get It!), and arranged by Greg Middleton. Incorporating the horns and hum of Detroit and Motown with vocals, harmonies and traditions of West Africa (djembe, kora), the record was a product of a casual meeting between Motown Studios alumni Gerald Theus who had set up shop and Eboni Records in Ivory Coast in the 1970s and Abdoulaye Soumare who was based in the US but met with Gerald on a whim and a stopover in Abidjan. Theus not only convinced Soumare to stick around Abidjan, but to immediately begin work on a series of four concurrent recordings by the label’s roster of local talent. It wasn't long before a group of musicians flew from the Ivory Coast to Los Angeles to 'get down' and record with a sensational group of Motown musicians including James Brown’s bandleader Fred Wesley, Nolan Smith (Marvin Gaye, Stevie Wonder), Ernie Fields, Jr (Rick James, Marvin Gaye), and Quentin Dennard (Aretha Franklin, BB King). The musicians comprised of the four musical groups signed to the Ivory Coast-based Eboni Records were Mamadou Doumbia, Gun Morgan, Amadou Doukoure, Abdoulaye Soumare, Lamine Konte & Fode Drame). The album was later mastered at Motown's Hitsville Studios. Remastered reissue of Eboni Band's sole 1980 album. Originally released by Eboni Records. Produced by Art Stewart (Marvin Gaye, Rick James, Teena Marie). Remastered by Noah Mintz. Limited to 1,000 copies. credits released June 18, 2021

会社名など Recorded At – Studio Sound Recorders Recorded At – Take One Studios, Burbank Recorded At – Mad Hatter Studios Recorded At – Studio Jive Recorded At – Discomate Studio Recorded At – Cherry Island Studio Mastered At – CBS/Sony Shinanomachi Studio クレジット Art Direction, Design – Kumiko Igaue Coordinator – Kazuyoshi Yagi Directed By – Akira Sasai Executive-Producer – Akio Kobayashi, Yoshimasa Hamada Mixed By – Jeff Gillette* Mixed By, Recorded By – Alan Hirshberg Photography By – Kohki Nishida Producer – Kazu Matsui Recorded By, Mastered By – Satoshi Ikeda ノート Recorded at Take One Studio (N-Hollywood,CA)

トップ・クラスの希少盤として知られ、「都会のいい女」的イメージも膨らむ間宮貴子の奇跡のシティ・ポップス名盤を初CD化。 奇跡の名曲"LOVE TRIP"をはじめ、"WHAT A BROKEN HEART CAN DO"、“真夜中のジョーク”などハイ・レベルなグルーヴィーAORの連続。 元山下達郎バンドの椎名和夫を中心として、難波弘之、鳴瀬喜博、井上鑑ら豪華ミュージシャンを起用。

大贯妙子，日本流行乐坛实力派女将，词曲全才。 本作是她的早期经典，于1977年发行的第二张大碟。 1976年，sugar babe解散。大贯妙子投奔NIPPON CROWN旗下的PANAM厂牌。随即发行了处女大碟<Grey Skies>，反响不俗。1977年7月，这张<Sunshower>问世。超豪华的制作班底包括细野晴臣、伊藤银次、后藤次利、山下达郎、坂本龙一等。其中坂本龙一参与了全部的编曲，以他最拿手的合成器编配方式，为专辑增添了浓郁的迷幻氛围。 Sunshower的全部词曲几乎都由大贯妙子自己包办，再次展现了其强大的音乐创作实力。这张大碟开启了大贯妙子音乐生涯的高峰期。之后她转投了RCA/AIR唱片，在那里有当年sugar babe时期的队友山下达郎。 此专辑限定版于2007年10月8日发行。

“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.” Funk and disco beats. Electro experimentation. Global retro vibes. A shimmering, cinematic sweep. --------------------------------------------- YĪN YĪN’s new long player, The Age of Aquarius, is a simple, direct appeal to dance. It is also a record blessed with a considerable hinterland; with cosmic time, long studio hours and a... determination to transcend the daily ennui of living in the Dutch city of Maastricht all playing their part. YĪN YĪN see themselves as a bunch of musical dreamers. The track ‘Declined by Universe’ references the fact that “we’re all kinds of drop outs.” The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn’t really conducive to setting up a bustling music scene: and it’s a place where the outsiders quickly recognize each other. YĪN YĪN are all “nightlife people”, which meant their friendship initially came about through co-organizing and deejaying DIY parties. Before the band formed, none had carved out a conventional career, or done the “very Dutch thing” of completing their studies. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking “a lot” of instruments to a rented rehearsal room in a small village near Maastricht. There the pair set up a couple of mics and recorded a number of songs in three days flat. Yves: “When we put it [the recorded session] out on tape, the reactions were very positive. So we decided to do a live show in Maastricht. We asked our musical friends to help us out, and from that night on we became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals and Gino Bombrini on percussion.” This “united against the world” stance is also heard at the end of ‘Declined by Universe’, where the band claps their own music, making the track initially sound like a live track. It’s a funny, maybe surreptitious statement of belief in what they do. YĪN YĪN also wanted to create an illusion of strength in other ways: ‘Declined by Universe’ sounds as if there is a large group of people playing, not just the core band. This was done by passing over sampling in favour of live recording multiple layers of percussion. Yves: “In the end we were getting kind of silly and started applauding every take. We decided to keep that reaction in. I still visualize a sort of school building in Thailand where people are playing this when I hear the recording.” Maybe YĪN YĪN also see their position of a band hiding in plain sight in their own land reflected in the legend of Chong Wang. Kees: “Chong Wang is a historical mystical figure. Very little is known about him and some people even deny his existence. But we wrote a ballad for him on the first album and now dedicated another track for him.” Regardless of attitude, the new record is bags of fun. Mainly because YĪN YĪN make dreamers music, in the sense that everything can happen, sometimes all at once. The working title was YĪN YĪN In Space, one that referenced the band’s inner vision of an entity that travels through space, encountering different planets, aliens, parties and galaxies along the way. Despite the name change, the music is still the soundtrack for that vision. And the intergalactic party vibes are strong. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like ‘Chong Wang’ the title track and ‘Nautilus’ drop some thumping 1990s-style electric boogie and italo disco chops along the way. Then there is ‘Shēnzou V.’, which plots a stately course between eastern-inflected pop music, Italo and Harmonia-style electronic meditations. The record’s party vibe can also be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving”. The expansive richness in sound and feel may also be down to the fact that more samples, drum computers and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. ‘Faiyadansu’, for example, started with a sample found on an old traditional Japanese koto record. Kees: “I first programmed a beat with 808 drums. Yves recorded guitars over that. Then we found some great vocal samples from a lady on YouTube who teaches the Thai language. These phrases and words all have something to do with enjoying food. The last step was to record some extra percussion on top.” Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members’ preoccupations with the state of the world. The Age of Aquarius is seen as a time when humanity takes control of the Earth and its own destiny as its rightful heritage, with the destiny of humanity being the revelation of truth and the expansion of consciousness. An old trope musically the Age is most famously referenced in the hippie musical, Hair. For YĪN YĪN it seems to denote the time when this record first took shape during the previous January, when the Age was meant to finally dawn. Other direct references to cosmic times are in the track names ‘Kali Yuga’ and ‘Satya Yuga’: the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga. It is believed to be the present age, which is full of conflict and sin. Who said this was just a party record? more

松下誠(g、 vo)、向谷実(keys: 元カシオペア)をアレンジャーに迎え、伊東たけし(as)、神保彰(ds)、櫻井哲夫(b)ら豪華ミュージシャン達も多数参加。日本で活動したニューヨーク出身の女性シンガー、ジュディー・アントンが残した傑作シティ・ポップス・アルバム(1980年作品)。ハイトーンの美声とハイレベルな演奏が奇跡を起こしたアーバン・グルーヴ”LIVING IN THE CITY”(作詞: 松本隆)、ジノ・ヴァネリの”THE RIVER MUST FLOW”などを収録。増尾好秋の義姉であり、TVタレントとしての活動も知られる。2013年デジタル・リマスタリング。監修・解説は金澤寿和。 【パーソネル】 ジュディ・アントン（vo）松下誠（g、vo）向谷実（keys）伊東たけし（as）神保彰（ds）山木秀夫（ds）今泉正義（ds）多田文信（b）富倉安生（b）櫻井哲夫（b）松田真人（keys）仙波清彦（perc）ほか