2017

This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana . Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on Carlos, ERASMO . . . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. Carlos, ERASMO . . . was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, Carlos, ERASMO . . . is a virtual all-star team of Tropícalistas (not in exile).

Sonhos E Memórias 1941-1972 is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.

Deluxe reissue with additional artwork & remastered audio.20-page booklet including rare pictures, sheet music & original liner notes.Bonus DVD with exclusive artwork of Caroline de Bendern’s movie « à l’intention de Mlle Issoufou à Bilma » documenting this incredible african journey.Ltd. Edition 1.000 copies100 copies have as bonus a numbered enveloppe with a set of 5 postcards, reserved to the first buyers, not resellers.

Escapism II is a continuation of Gellaitry’s bright experimental production, following up to last year’s critically acclaimed Escapism EP..

Limited edition of 500 , hand numbered

First Word are keeping it moving for 2017 and welcoming Kaidi Tatham into the fold, with a firing four-track EP, 'Changing Times'.Kaidi is a talented multi-instrumentalist that's produced, featured, remixed and performed with an array of artists across numerous genres; jazz, soul, broken beat, hip hop and beyond.Perhaps best known for his work with Bugz In The Attic, 4Hero and Dego, his accomplished catalogue of musicianship can be heard amongst the likes of Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Leroy Burgess, Amp Fiddler, Macy Gray, King Britt, DJ Spinna, Gene Harris, Mr Scruff, The Salsoul Orchestra, Kyoto Jazz Massive, Blu, Vikter Duplaix, Nathan Haines, Phil Asher, IG Culture and Eric Lau, to name a fraction.

Finally available again on a 7", two essential disco and soul cuts from Silvia Striplin orginally releases in 1980. Produced by Roy Ayers on his Uno Melodic label.A. 'Give Me Your Love'An umptemp disco groover for the more discerning dancefloor. Sylvia’s glorious vocals float over a sumptuous uptempo Roy Ayers tracj. Sampled by Armand Van Helden, Deepdown and Madd Rapper.B. 'You Can't Turn Me Away'A soul breakbeat classic. Deep downtempo business, this shows Roy Ayers at the height of his powers and Sylvia more than does the track justice. Beautiful!The instantly recognisable bassline was sampled by Notorious BIG/Junior Mafia on ‘Get Money’. Also sampled by Naughty By Nature and Backstreet Boys.