Honest Jon's
278 Portobello Road
London
W10 5TE
England

Monday-Saturday 10 till 6; Sunday 11 till 5

Honest Jon's
Unit 115
Lower Stable Street
Coal Drops Yard
London
N1C 4DR

Monday-Saturday 11 till 6; Sunday 11 till 5

+44(0)208 969 9822 mail@honestjons.com

Established 1974.

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Ricardo Villalobos

Neunachi EP

Rawax

Moebius-Plank-Neumeier

Zero Set

Bureau B

Dark, funky and grooving, inventive and flowing but punchy and sharply focussed. Moebius’ electronics, Neumeier’s drumming, Plank’s engineering: from the early eighties but fresh as anything.
40th Anniversary Edition: hand numbered, limited edition, white vinyl.

Neu!

Neu!

Gronland

The monumental, immensely influential 1972 debut of the duo comprising guitarist Michael Rother and former Kraftwerk drummer Klaus Dinger.
Picure disc.

Neu!

2

Gronland

Neu!

Neu! '75

Gronland

Picture disc LP.

Neu!

Neu! '86

Gronland

Neung Phak

2

Abduction

Uproarious mix-up of Molam pop, Thai acid-rock, Javanese dangdut, default TwoTone and Cambodian instro-drama from the Oakland CA seven-piece including Sublime Frequencies’ Mark Gerghis (with Alan Bishop guesting).

The Widow's Joy

Eastern European Immigrant Dances In America, 1925-1930

Sound American

The forgotten music of the Austro-Hungarian diaspora in the mid-west of the United States. An Ian Nagoski compilation to inaugurate the label, with a cover by Eric from Mississippi Records.

Chekhov's Band

Eastern European Klezmer Music 1908-1913

Renair

In Anton Chekhov’s last play The Cherry Orchard, written just a few years before these Gramophone Company recordings in Odessa (mostly), the character Gayev hears off-stage ‘our famous Jewish orchestra… four violins, a flute and a double bass.’
In this period, klezmer music was venturing beyond its original role as Jewish wedding and celebratory music. It was proliferating in secular settings; sometimes disreputable, even underground. In the Odessa Stories, Isaac Babel mentions a bar with a house-band of ‘old Jews with dirty beards playing Romanian and Jewish tunes’; and klezmer would have been the soundtrack of the local brothels, pretty much all Jewish-owned. (One track here celebrates a new treatment for syphilis, Preparation 606… even lavishing a trumpet on proceedings.)
Tangy, exuberant, life-affirming music, high and low, mostly for dancing, featuring virtuosi like violinist Jascha Gegner and clarinettist Titunshnayder, presented with excellent notes.

If Music Presents

Eastern European Sounds (1970-1986)

If Music

Six tracks spanning infectious Polish disco (Karolak and Korzyński), bustling break-heavy jazz from the Polski Jazz Ensemble and Russki Yahilevich, heartwarming spiritual jazz from Hungary’s Binder Quintet (featuring John Tchicai)... and Alojz Bouda’s oddball Slovakian synth banger, Random.

LIDJ Incorporated

Line Up

Jah Fingers

Ishu and Xylon from Sound Iration, produced by Manasseh for Youth Sound in 1990. Quality digi UK steppers, with a nice melodica version, and a hollowed-out dub.

Switched On Eugene

Numero

Dopplereffekt

Neurotelepathy

Leisure System

You can hear their stage experience in ‘the sizzle and swing of the percussive highlights here, programmed with a serious depth and wriggle that reflect both an extension of and return to form. Considerations of the machine-human interface, neurological realities and physical probabilities dominate. But these tracks are economical and precise, glittering with emotional depth and cinematic effects. The album’s core, a three-act movement of symphonic uncertainty and revelation, marks one of the pair’s most evocative compositions in a career full of them.’

Celestine Ukwu

No Condition Is Permanent

Mississippi

A compilation of the deepest and most affecting songs by The Philosophers National from Nigeria, beginning in the 1970s. Lilting, multi-layered, pulsing music, with muted trumpet solos, mesmerising guitar runs, driving percussion, and concise and clear-eyed lyrics sung so beautifully by Celestine Ukwu.
‘Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing—even though the rhythms were compelling enough. This was music for the thinkers’ (Uchenna Ikonne).

Studio One UK Red Series

8 UK Singles

Studio 1

Tuff Crew

Danger Zone

Phase One US

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