Artists

Hier findet ihr die Künstler/Bands.

V/A

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    V/A

    (The Microcosm) Visionary Music Of Continental Europe, 1970-1986´´

    Format
    3xLP
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    V/A

    4 Bands split

    with Collided in Shades,Skipjack Bolzen Rag Tag
    Format
    LP
    Release-Datum
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    V/A

    4 your love

    with Sacred Hearts, Soon, Strange , Mild Mannered Janitors
    Format
    7''
    Release-Datum
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    V/A

    A TRIBUTE TO...DIE GOLDENEN ZITRONEN

    Format
    CD
    Release-Datum
    01.04.2010
    Format
    DoLP
    Release-Datum
    01.04.2010
     
  • 01. Fusioon - Tocata Y Fug
    02. Furia - Furia
    03. Los Roller - Un Consejo
    04. Huracanes - Cambio
    05. Sonya - En Mi Nube (Get Off My Cloud)
    06. Rudy Ventura - Soy Un Sonador
    07. Fusioon - Ciclos
    08. Fuerza - Un Lugar
    09. Rudy Ventura - Yamasuki
    10. Control - Por Las Viejas Calles
    11. Fusioon - Farsa Del Buen Vivir
    12. Los Huracanes - Good Gally Miss Molly
    13. The Brisk - El Juego Del Amor
    14. Los Ros - Cuentame Cosas Tuyas
    15. Albert Band - Ella Tiene El Cabello Rubio
    16. Los Mismos - Jefe Ironside
    17. Los Roller - Camino Cortado
    18. Soledad Miranda - La Verdad
    19. Los Gritos - Veo Visions
    20. Alfonso Santisteban - Zorongo
    21. Top Show - Escucha Nina
    22. Hermanos Calatrava - Space Oddity
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    V/A

    ABSOLUTE BELTER

    [engl] In the realms of music business the overused term indie has become somewhat convoluted within the last three decades. Bandied around as a stylistic statement, an ethos or a genre in its own right there are very few successful popular music labels that can truly claim to be independent of those major corporations that in time plan to dominate the entire recorded output of the global music community. Here at Finders Keepers these seldom-championed self-sufficient industries have always been truly inspirational sources. Labels such as Kuckuck in Germany, BYG in France and Sain in Wales have all maintained utmost artistic integrity and broke truly experimental and successful careers without having to surrender their creative loins to the ravenous bottomless stomach of the major music industry and for this reason the music flies freely amongst us adding new life after life to musical misfits as free music lives, breathes and procreates. By the start of the new millennium the revival of the vinyl record buying market had reached a level that turned second hand shops and auction websites into train spotters sports arenas. The competitive nature of record digging, trading, sampling and DJing took misplaced-pop aficionados out of their comfort zones in search of black 12" and 7” medals that might outsmart their fellow collectors or tantalize the fresh ears of a well adjusted freak-fuelled audience. Throughout the 1990s the rise in popularity of indigenous European genres such as Krautrock and French Ye-Ye saw American, English and Japanese collectors re-invent the concept of world music pondering un-raked territories... Europe, of course, would provide the central co-ordinates to start the global trophy treasure hunt. The neatly arranged and numbered racks of laminated 7 inch sleeves that originated from Barcelona in the 60s and 70s have provided many of these vinyl vultures and portable record deck wielders with enough random and varied music to justify week long pop-pilgrimages to Spanish flea markets and thrift shops. Belter records, with their familiar yellow graphic bands and blue/silver or brown/yellow labels punctuate racks of other Spanish delights in a country whose habitual record buying market was initiated and facilitated by a self-made home grown institution. This is were you'll find hip-hop producers rubbing shoulders with mods and proggers, shying away from the sun, contemplating a supposedly-authentic paella supper and repeatedly flipping over the endless rivers of 7" circles and squares in search of another Absolute Belter. The year 2010 marks the 50th anniversary of one of the most recognised independent commercial music companies of post-war Europe and with a back catalogue of magnetic tape that could circle the planet the legacy of Barcelona’s Belter repertoire has touched each continent, proudly defiant in the face of fascism, technology, revolution, capitalism, patriotism, bad fashion, good vibrations and dubious humour. Viva la musica!
    Format
    DoLP
    Release-Datum
    12.04.2010
    EAN
    EAN 5060099502163
     
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    V/A

    AC/DC SIDES 11-14

    [engl] Limited edition 2x7" set, pressed on marble-colored vinyls, and packed into a 20-page comicbook sleeve! Features exclusively recorded interpretations of AC/DC songs by PRE ("Dirty Deeds Done Dirt Cheap"), YOWIE ("Dundertruck"), COLOSSAMITE ("Anti-Christ Devil Child"), and with "Have A Drink On Me" the last recording ever by legendary Touch&Go artists MULE!
    Format
    Do 7''
    Release-Datum
    17.12.2012
     
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    V/A

    AC/DC SIDES 7-10

    [engl] Featuring AC/DC-cover-versions by DENISON KIMBALL TRIO, ZEEK SHECK, MOUNT SHASTA and KILLDOZER! The first two installments of this series, Double-7” "SIDES 1-4" resp. "SIDES 5&6" 7"Single are COMPLETELY sold-out!!!
    Format
    Do 7''
    Release-Datum
    17.12.2012
     
  • 01. The Crystal Chandelier - The Setting Of Despair
    02. The Last Word - Bidin' My Time
    03. The Whatever - The Valley Of Death
    04. The Allies - I'll Sell My Soul
    05. The World Column - Lantern Gospel
    06. The Hobbits - Strawberry Children
    07. The Picture - Evolution
    08. West Coast Branch - Colors Of My Life
    09. The Morticians - It's Gonna Take A While
    10. 1st National Band - When Once It Was Good
    11. The Savage Generation - You're Not Going To Change My World
    12. The Starfires - There's Still Time
    13. Hindenburg Lyon - Eden
    14. Ford Theatre - Jefferson Airplane
    15. The Lords - Death Bells At Dawn
    16. The United Travel Service - Wind And Stone
    17. Culver Street Playground - East River Lovers
    18. Utopia Carwash - Loneliness
    19. The Venus Flytrap - The Note
    20. The Rainy Daze - In My Mind Lives A Forest
    21. The Zero Tolerance - Acid And Flowers
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    V/A

    Acid And Flowers

    Format
    CD
    Release-Datum
    15.12.2010
     
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    V/A

    ACTION PACKED! Vol. 5

    16 red Hot Rockin Tracks FABULOUS THUNDERBOLTS/ DAVE JOHNSON/ BOBBY LEE/ ROCKATUNES/ LA-SABERS/ DERELL SPECK & REBEL ROUSERS/ JAGUARS WITH TOM LOONEY/ PROWLERS/ ROCK-ITS/ CENTURYS/ MIKE SANCHEZ/ EDDIE MOORE etc.
    Format
    LP
    Release-Datum
    27.06.2007
     
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    V/A

    Action speaks louder than words

    Nach über 2 Jahren Planung ist es endlich soweit: ''Action speaks louder than words'' präsentiert ausschlie?lich rare, exklusive und unveröffentlichte Songs von 17 Bands aus aller Welt. Mit dabei sind Police Bastard, MDC, Oi Polloi, TV Smith, Action Directe, Wasted, Petrograd, Sin Dios, Apatia No, Bellicosi, Klasse Kriminale, Fleas and Lice, Ratos de porao, Puagh, Rifu, Koyaanisqatsi und Sixty Stories. Die LP kommt mit gro?artigem Artwork, einem 20-seitigen Beiheft mit Infos und Texten zu allen beteiligten Bands und mit Posterbeilage. ?ber 40 Minuten Spielzeit vollgepackt mit bester Musik zwischen Punkrock, Hardcore und Artverwandtem, dazu ein Stück des englischen Liedermachers TV Smith (ex-Adverts) und vieles, vieles mehr.
    Format
    LP
    Release-Datum
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  • 01. Orchestre African Fiesta - Save Me
    02. Sunbust - Let's Live Together
    03. Gee Dees - Amina
    04. Sax Wary And Orchestre - L'Amour Au Prix de L'Argent
    05. Les Kilts - Jerk Bastos
    06. Kante Manfla - Air Afrique
    07. Francois Lougah - Pecoussa
    08. The Rwenzori's - E Wara (Partie 2)
    09. Bongi & Nelson - I Was So Glad
    10. Verckys Et Son Ensemble - Tell Maman
    11. Docteur Nico & Orchestre - Sookie
    12. Kalle, L'African Team - Mi Nuevo Boogaloo
    13. Uta Bella - Ziliyankiyan
    14. H.C. Clementophe - Pour Mieux Vivre
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    V/A

    AIR AFRICA

    [engl] Outstanding African soul compilation from 60s and 70s! Noir C'est Noir Premiere Volume. Special Issue: AFRO BEAT & SOUL! A deep exploration of the vast archives of all across Africa for a series of selections of Dynamite fusions that barely have been assembled together previously such as Soul, Jerk, Psych, Beat, Garage and others. All cuts reissued for the first time.
    Format
    LP
    Release-Datum
    19.12.2017
     
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    V/A

    All tored up

    Format
    CD
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    Format
    LP
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    V/A

    Aloha Got Soul

    Dass Hawaii weitaus mehr zu bieten hat als den Iron Man, Surferstrände und Vulkane, stellt die Kompilation "Aloha Got Soul: Soul, AOR & Disco in Hawai'i 1979-1985" eindrucksvoll unter Beweis. Die beim Londoner Label Strut erscheinende CD ist der weltweit erste Sampler, der sich der hawaiianischen Tanz- und Popmusik der späten 70er, frühen 80er annimmt. Für die einheimischen Künstler war diese Zeit eine fruchtbare Ära: Einerseits wurde Hawaiian 1978 zur offiziellen Inselsprache, wodurch eine dynamische Künstlerbewegung entstand, die Hula und traditionelle Musikstile mit neuem Leben füllte; andererseits buchten Veranstaltungsorte mit Musikprogramm aus Kostengründen die Künstler der Insel. "Aloha Got Soul" wurde von Roger Bong kompiliert, der seit Jahren einen Blog rund um den Themenkomplex "Hawaiianischer Soul, Funk, Jazz und Artverwandtes" betreibt, leidenschaftlicher Vinyljäger ist und schlicht als der Experte für gute einheimische Musik gilt. Für die Zusammenstellung hat Bong 16 rare Tracks aus seinen Plattenkisten gezaubert, die überwiegend bislang nur auf Originalvinyl in Hawaii erschienen sind. Das umfangreiche Booklet führt mit einem ausführlichen Begleittext, Künstlerinterviews, zahlreichen Fotos und Cover-Abbildung umfassend ins Thema ein. Wer den Sound von Gilles Person, Earth Wind & Fire, Tower Of Power, Doobie Brothers, Roy Ayers oder Donald Fagen mag, sollte hier mal ein Ohr riskieren.
    Format
    DoLP
    Release-Datum
    18.03.2016
    EAN
    EAN 730003313318
     
  • 01. Colosse De Rhodes
    02. Sous La Mer C'est Calme
    03. Samarcande
    04. Sayyara
    05. La Ville
    06. Le Vide
    07. Tamam
    08. El Bahr
    09. Ultra Moderne Solitude 2
    10. Yaaa Yaaa Yaaa

    V/A

    ANTILLES MECHANT BATEAU - Deep biguines & Gwo ka from 60’s french West-indies

    [engl] The West Indies – a sweet coastline subject to many clichés from another time. That postcard with coconut trees, a glass of rum to sip on, those so exotic madras dresses... Almost as many as in Compagnie Créole’s "doudouist" songs, that say a lot about the misunderstandings from both sides of the ocean. West Indians are still as stuck with this distorted outlook as in the good old days of the colonies. Because, underneath the veneer of moldy images, a completely different reality is woven. ‘They beat drums but were never number one’ – to misquote the chorus by a Martinique-born French singer. This is the subject of this collection – musicians drumming on percussion as a way of asserting their creolized identity. Songs that tell, in veiled terms, a different reality from what mainlanders were fed with. Special cases, with cries of joy and laments accompanied by cadences, as an invitation to trance, all immersed in the Caribbean melting pot of rhythm. “’Antilles’ Méchant Bateau”, a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you expect to set the tone for this selection, in which beguine regains its original colors, in the darkness of the gwo ka drums. This 45 by André Mahy, released under the Aux Ondes sublabel, was recorded in the 1960s at Célini’s, one of Guadeloupe’s two main houses. Through its drum rolls and harrowing chant, it recalled how, long before the mid-1960s, the Antilles’ history was written in an ocean of teardrops – namely the Black Atlantic, as so rightly put by Martinician philosopher and poet Edouard Glissant in L’Archipel des Grands Chaos. These “cursed boats” – slavers – carried millions of Africans to the American continent for centuries. All this sinister story had begun with the landing of a fleet of caravels steered by Christopher Columbus in 1492. It was the first step towards a colonization that was about to decimate the indigenous peoples of this terra incognita and deport the vital spark from the cradle continent of humankind. A year later, on November 4th, 1493, the same Colombus christened Guadeloupe after the Royal Monastery of Santa María de Guadalupe in Extremadura. The cross – a booming symbol – was there to justify the ordeal of peoples to whom even humanness was denied. Soon, once the Caribbean tribes were eradicated, the French would massively import workforce from Ghana, Togo, Dahomey, Ivory Coast, Nigeria, Cameroon, Gabon, Congo or Angola, as recalled by the Marches dedicated to the various ethnicities of slaves in 2012, which faced the Memorial of the ka drum on the Grande-Terre island in Guadeloupe. Hundreds of thousands of them would have to survive the nightmare of plantations, comparable to the plantation system in the American South: chains, leg irons, shackles, fetters, garottes, iron collars and branks, dungeons or lynchings set the tempo of everyday life. The sugar aristocracy (the brown gold of the time) set a reign of terror on plantations. The masters had full powers, including life and death, over the slaves who worked from four in the morning to sunset… until April 27th, 1848 – date of the second and definitive abolition of slavery thanks to the struggle of Victor Schœlcher, an MP who was close to Lamartine (the first one had been pronounced in the wake of the French Revolution, but soon repressed in blood by Bonaparte...). However, the path would still be long to see the newly-born Republic’s motto applied: Liberty, Equality, Fraternity ... The "post-slavery" society would perpetuate real economic segregation – a distinction that would be reproduced from generation to generation... And even if, a century later, the law of 19th March 1946 granted the four old colonies the status of Overseas Departments, nothing changed in the course of history. This gap would then widen, differently but surely, as the Republic implemented an assimilation policy that would deny identities and make a clean break with the past. In this fool’s game, the ka became, in the 1960s, the voice of identity for Guadeloupeans who couldn’t resolve being purely and solely disintegrated. Made from salting or wine barrels from the colonial era – boats keep coming back in this ebb and flow movement – the "quarter", or "ka" once creolized, was a powerful symbol of resistance since the colonial era. Even if its practice was quickly proscribed by masters, considering it contained the seeds of revolt, this great drum (long known as a ‘bamboula’, which means ‘pagan festival’ in Haiti, and became a popular expression in De Gaulle's France) inexorably wormed its way into the local culture, until becoming the essential melting pot for the movement of ‘root music’ against mainland France’s deaf hear. Or its beating heart, following the seven specific rhythms of gwo ka. More than just a matter of rhythms, this drum carried a speech full of history and stories, a message of memories and hopes. The gwo ka bore the stigmata of a slave society, from which all its associated chants were inherited. A medium of the voiceless, this drum would act like an ointment on mistreated bodies, but also as a stimulant for rebellious souls. Under the drummer’s fingers, the ka drummed up the ancestors’ spirits. Just like words convey the memory of a people that was long demoted to the status of a simple item of personal property – according to article 44 of the 1685 Code Noir draught by Colbert to regulate the status of slaves – before being governed by a system of identification booklets allowing to monitor the movements and work of the workforce in a Guadeloupe admittedly liberated from slavery, but still looking like a "banana" regime. This trauma appears through a repertoire that reflects the pain of cane cutters and the euphoria of pay day, the oppression of racism and the recourse to the myth of a promised land. Songs burst with all the bestiary that populates the countryside and the many fish that feed stews, acid satires on the daily reality and apposite witticisms on international events, chronicles anchored in the local soil as well as biting plays on words. One may sing to keep vigil over a dead person, or launch into long, saucy tirades at a bibulous party. At the turn of the 1960s, while some bars were still for whites only, while speaking Creole was forbidden in schoolyards, while drum music was considered a "mizik vié neg" (“old negro music”), while the church saw a symbol of degeneration in it, the Maroon spirit – from the name of the slaves who fled plantations to live free in the woods – rose from its depths, in another form. In this decade and the one that followed, this movement, that gave its place back to percussion, accompanied more precise claims as English-speaking islands gained independence. By playing the ka (which was banned from official studios), one actually chose their side. From 1963, the freshly-instituted Bumidom (Office for Overseas Migration) organized a strong West-Indian emigration towards low-skilled jobs and a dull suburban life. In response, the Gong (group for Guadeloupe’s National Organization) called for Guadeloupe’s independence, and two years later, the Guadeloupean Front for Autonomy appeared. Those years were punctuated by strikes and repressions, culminating in May 1967 with a real massacre in the public square in Pointe-à-Pitre, the toll of which would not be disclosed until 2012. Many would denounce the bloodbath operated by the Bumidom among Guadeloupe’s lifeblood. Slogans flourished on walls, including the iconic: Jeune, ne quitte pas ton pays ("Young people, do not leave your country”). Part of the youth got the message, choosing to take the drum back in hand as a symbol of the emasculated identity of this "entirely apart" people, to quote Aimé Césaire, the father of Negritude. The ka became the soundtrack of this generation, who sped up the tempo with the 70s and definitely transplanted it to town, while the plantation economy – the original soil of the ka drum – was in crisis. From then on, the old tambouyés (drummers) finally went celebrated as they should be: Anzala, Carnot, Serge Dolor, Ti Seles, Robert Loyson, Arthème Boisban, Esnard Boisdur ... and especially Velo – born Marcel Lollia – who nevertheless died in misery, in the street, in 1984. “Champs de canne, champs de coton !” ("Cane fields, cotton fields!) Guy Konket roared, one of the great champions of the Guadeloupean cause, whose path followed on from this legacy, moving it onto the asphalt of Carénages, Pointe-à-Pitre’s hot district. The poet sure had a good turn of phrase, that hit the spot just like his mouth drum. No doubt, blues and ka fought the same battle – centuries of oppression, of negation, before finding the path to possible redemption. Between them, the same language – the language of the Creole spirits, flooded in the great ocean. This is what this selection is about, and its good, inborn sense of humor shouldn't hide the implicit commentaries. There, jazz instills an emancipating energy from established formats, giving these songs a musicality that rhymes with spirituality. From infernal cadences borrowing from the "latin" rhythms of neighboring islands, to beguines with percussion-spiced tempos, to more laid-back – nonetheless dark – ballads, this compilation takes us back to the early hours of a movement of rebirth synonymous with recognition. A rejuvenation in which all the musics from the Black Atlantic diaspora naturally intertwine. Like a wave of sounds, of sense and blood, reminding us that an original culture emerged from the holds of these ‘wicked boats’, the trace of which remains starkly persistent in 2018.
    Format
    LP
    Release-Datum
    18.09.2018
    EAN
    EAN 3521381548716
    Format
    CD
    Release-Datum
    18.09.2018
    EAN
    EAN 3521383448700
     
  • 01. Juan Muro - Vuestro Mundo
    02. Alcy Agüero Y Su Orquesta Pop - Quiero Bailar
    03. Los Goya - Arbol Sin Raiz
    04. Pedro Gonzalez - El Samurai
    05. Microns - Liberacion
    06. Calderon - Marcha De Aida
    07. Barbara - Conquistador De Carton
    08. Los Tíos Queridos - Por Eso Vuelve, Por Favor
    09. Márquez - Barahunda
    10. Tinglado 13 - I Miss You
    11. Jou Cogra - Crater Satanico
    12. Alfredo Doménech Y Su Conjunto - Arabesco
    13. Greg Segura - Distorsionando
    14. Polos Opuestos - Smartypants
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    V/A

    Atenshion! Refleshion! Spanish Psychedelic Grooves 1967-76

    [engl] Get ready for the ultimate psychotronic party!! Underground soul, psychedelic funk, Hammond and library grooves, dirty fuzz guitars, wah-wah, horns, drum breaks, crazy bongos...14 tracks taken from rare and unknown until now Spanish records from the late 60s and early 70s, many of them released on small and private labels, including the Türkish style hard-psych-groove of Pedro Gonz lez with "El Samurai" and the ultra-rare private pressing EP by Alcy Agüero y Su Orquesta Pop featuring the killer scat-fuzz dancer "Quiero bailar"... But wait... there's more! Powerful soul movers by Juan Muro, Tios Queridos and Los Goya ; Hammond grooves by Marquez and Polos Opuestos ; library-fuzz-groove by Jou Cogra, Calderón and Greg Segura, progressive soul by Microns...
    Format
    CD
    Release-Datum
    24.10.2018
    EAN
    EAN 6038152913682
     
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    V/A

    Back from the grave Vol 01

    Format
    LP
    Release-Datum
    01.01.1983
     
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    V/A

    Back from the grave Vol 02

    Format
    LP
    Release-Datum
    01.01.2015
     
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    V/A

    Back from the grave Vol 03

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    LP
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    V/A

    Back from the grave Vol 04

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    LP
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    V/A

    Back from the grave Vol 05

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    LP
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    V/A

    Back from the grave Vol 06

    Format
    LP
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    V/A

    Back from the grave Vol 07

    Format
    DoLP
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    V/A

    Back from the grave Vol 08

    [engl] Remastered, with updated liner notes and photos and in a swank gatefold sleeve!
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    DoLP
    Release-Datum
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    V/A

    Back from the grave Vol 09

    [engl] 18 years after Grave 8, and at last it is here! MONSTROUS, GATEFOLDED, THICK COLOR INNER JACKET - all crammed with liner notes, band photos, label scans. The ULTIMATE in 60s punk INSANITY!!!! Balls-out, cruder-than-hell, RARER than hens teeth rawness - 7 of which are the ONLY copy in existence, 3 of which there are only 2 copies in existence! 15 cuts from: WARLOCKS, RAEVINS, EMERALDS, WHY-NOTS, TURNCOATS, SHAKLES, KNOLL ALLEN & THE NOBLE SAVAGES, ETC!
    Format
    LP
    Release-Datum
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