The sequel to Calling Out Of Context; another precious extraction from Arthur’s original, completed 1/4” tape masters.
Russell himself compiled this material thirty years ago, on three separate test pressings, labelled El Dinosaur, Indian Ocean and Untitled: five brilliant alternate versions of key works — including This Is How We Walk On The Moon — and four offerings new to the world, triumphantly culminating in the rapt, restless Ocean Movie. Terrific.

The first volume is a mid-seventies masterpiece, Americana touching on Copeland, Ives, and Brian Wilson, with AR ‘re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.’ Volume 2 is a moving, pastoral orchestral work, conducted here by Julius Eastman. Also included are two of Arthur’s most elusive compositions, recorded live in 1975: Reach One is a minimal, hypnotic ambient soundscape for two Fender Rhodes pianos; Sketch For Face Of Helen commemorates his colloborations with Arnold Dreyblatt, recorded with a keyboard, tone generator and — with echoes of Moondog — recordings of a tugboat rumbling across the waters of the Hudson River.

‘An intimate unedited solo live performance recorded at Phill Niblock’s Experimental Intermedia Foundation in Downtown NYC on 12/20/85. Arthur titled this performance Open Vocal Phrases, Where Songs Come In and Out. He would later edit sections from this performance merging it with studio material recorded at Battery Sound to finalize the World of Echo album released in 1986.’

“Some of it sounds so pure and clear and I am picturing him huddled around all that gear, simply magical. In my memory he didn’t play “for” the audience but was rather trying to perfect these various permutations of sound within himself…and a few of us just happened to be present” - Tom Lee

The double vinyl LP includes the complete nineteen-minutes-plus version of Tower of Meaning/Rabbit’s Ear/Home Away along with the previously unreleased songs That’s The Very Reason and Too Early To Tell. Also two instrumental tracks from Sketches For World Of Echo, originally published in 2020 as a cassette.
The double CD includes both Open Vocal Phrases and Sketches For World Of Echo, in full.

Japanese, with insert: GXK 8146.

It’s a Christmas album but fear ye not. It’s from the same six months as How Insensitive and Now Hear This, with Airto running between these sessions and the recording of Bitches Brew. Try the grooving opener, with DP alternating on piano and celeste.

Sugar’s debut LP, from 1978: inspired, crafted voicings of all-time classic S1 rhythms, banger after banger, insouciantly announcing the rebirth of the greatest reggae label of all time, with vibes and panache to the max.
Hotly recommended. Crucial Studio One.

‘Coxsone Boy’ showed Mr. Dodd how to lick over Studio One’s vast armament of foundational rhythms for the dancehall era to come (and claim them back from Channel One). He knew them all backwards from singing over them on his sound.
Killer selection.

Four songs and their dubs — lovers, bubblers, rockers, and well-charge dub, with great playing and Sugar brilliantly focussed throughout — originally a 1983 picture-sleeved ten-inch on his own Black Roots imprint.

An LP’s worth of vintage Studio One rhythms (and Coxsone productions), vocals plus dubs, all unavailable elsewhere.

Top-quality, previously-unreleased Sugar, in fine voice at Joe Gibbs. Strong rhythm, too, rich and moody.

Vintage UK digital, animated by Sugar; a Shaka tune in the day.
(A bit disappointingly, Preacher Cleavie Jefferey is three men: producers Preacher, Cleveland Neunie and Jeffrey Beckford.)

Two knockout Wackie’s 12” sides, paired together for maximum pressure. Each originally appeared on separate twelves, around ‘85 and ‘80. The A-side is another deadly Sugar shot, one of so many for Wackie’s. Backed here with the more obscure Zion Land, a stunning, shimmering roots chant. Both sides extended mixes.