Další přírustek z Real World Records archívu. Deset dalších alb, které představují to nejlepší z dříve vydaných a do této chvíle vyprodaných titulů anglického hudebního vydavatelství Real World Records a to v digipackovém obalu za přijatelnou cenu.
Tentokrát se jedná o tyto alba:
1 CDRWG64 Joseph Arthur - Big City Secrets
2 CDRWG111 Afro Celts Sound System– Seed
3 CDRWG110 Adrian Sherwood - Never Trust A Hippy
4 CDRWG24 Sheila Chandra - Weaving My Ancestors Voices (zatím nedostupné)
5 CDRWG115 The Blind Boys of Alabama – Go Tell It On The Mountain (zatím nedostupné)
6 CDRWG3 Nusrat Fateh Ali Khan – Shahen-Shah
7 CDRWG135 Varttina - Miero
8 CDRWG121 Daby Touré - Diam
9 CDRWG71 Papa Wemba - Molokai
10 CDRWG88 Women of the World - Gifted (zatím nedostupné)
Joseph Arthur – Big City Secrets
The record with which the Ohio singer-songwriter announced himself. Back in 1997, in his mid-twenties and recently discovered by Peter Gabriel, Arthur’s sound was both familiar and fresh. What we heard was rock music, but with its emotional heart stripped open. Joseph himself described it as the sound of “someone struggling to heal over experimental folk-rock”. But there was also plenty of craft set around the soul-searching, making Big City Secrets an impressive and confident opening gambit from an artist with plenty to say.
“After your guard is down and you've started playing name-that-influence, he grabs your attention back with massive hooks” – Option
Afro Celts Sound System – Seed
With ‘sound system’ now dropped from their name, 2003’s Seed marked out some clearly defined territory for one of Real World’s totemic outfits. Now less reliant on beats and samples, the team put more stock in real instruments, a move born out of their experiences of playing live together. The digital programming lessened, the sound of various stringed instruments grew. As the record’s title hints, it established a new beginning, one which found them sounding more organic, less hurried, less frantic. But the band’s essence was retained – one that not only valued collaboration but also faced the future with open ears.
“A fully fledged band rather than a clever studio project” – The Times
Adrian Sherwood – Never Trust A Hippy
After a rich life supplementing and reshaping the music of others through remixing and live mixes (most notably African Head Charge, Tackhead and Little Axe), in 2003 dub pioneer Adrian Sherwood finally sat down to record his first album under his own name. The result was this slippery beast, an eyebrow-raising, smile-inducing record difficult to contain with mere words. “It’s my own version of a kind of world music-sci-fi-dub-dancehall record,” Adrian offered at the time. With Never Trust A Hippy, one man pretty much invented his own genre.
“Raw as human brains, hard as granite and sharp as a sniper’s bullet” – Muzik
Nusrat Fateh Ali Khan – Shahen-Shah
Before the Massive Attack remixes, before the collaborations with Eddie Vedder, before Jeff Buckley described him as “my Elvis”, Nusrat had already recorded scores of traditional Qawwali albums. Shahen-Shah was his first Real World recording (as well as being the second-ever release on the label) and was responsible for introducing this extraordinary singer to a new generation. Each vocal performance on this record is utterly captivating, drawing you in, erasing everything else around you. A voice like no other – undulating, glorious and transporting the listener to a higher plane.
“Transcendentally mystical but with all the visceral presence of rock” – City Paper
Varttina – Miero
By the time of this, their tenth album, Finland’s Varttina knew their art to such a degree that risks could be taken with supreme confidence. Straddling the worlds of traditional folk and avant-garde experimentation, 2006’s Miero was their darkest offering yet – spooky, fogbound tunes made ever more mysterious by the vocals of the three frontwomen vocals seemingly harmonising and fighting each other at the same time. It was the creation of music this otherworldly that bagged the Finns the job of scoring the live performance of The Lord Of The Rings.
“An exhilarating concoction of wild female vocals, crisp, asymmetric rhythms and stirring Nordic melodies” – The Guardian
Daby Touré – Diam
Born in Mauritania and partly raised in Senegal, Daby Touré isn’t one for recognising the rigidity of borders, a principle that always informs his music. Diam was the singer-songwriter’s first record for Real World, a delicate set of songs shot through with humanity, compassion and openness. His soulful voice and fluid acoustic guitar saw him reaching out beyond Africa, dissolving man-made boundaries through the universality of song.
“Well-structured, memorable songs suffused with tenderness and a heart-warming campfire intimacy” – Daily Telegraph
Papa Wemba – Molokai
The sweet-voiced Congolese bandleader’s third album for Real World found legendary producer John Leckie at the helm – the man who sculpted the sound of the Stones Roses’ debut and Radiohead’s TheBends. He does another brilliant job here, the uber-crispness of these sessions allowing Papa Wemba’s elastic voice to reach high and low, and – possibly even more crucially – those twinkling soukous guitars to shine and dazzle even more brightly. This 1998 record crystallised Wemba at the height of his powers, a man always looking for the next move, never to rest back on those (rather substantial) laurels.
“Wemba’s albums have never captured the full kinetic joy of his gigs. Until now” – Time Out