Collection of solo works by Javier Bergia, guitarist in Finas Africae.  Taken from 1985 to today, the album represents Javier's classic spanish guitar sound and includes songs from several of his now rare and sought after albums, including Tagomago.    


LP and CD (with bonus tracks) available June 2014.  
  

A2. Adiós Tren De Jaipur

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Following Javier Bergia’s compilation album Eclipse, Emotional Rescue returns to Spain for the follow up in Ishinohana. New Age, Jazz Fusion and Eastern influences are prominent, mixing electric and classic Spanish guitar with Indian and Japanese influenced percussion to a spiritual perfection.

A project bringing together Javier Bergia and friends Luis Delgado and Manuel Illán, Ishinohana sees these masters mesh the influences of rock, new age and Eastern percussion in to a cohesive whole.

With a nod to the influence of Pat Metheny throughout, Le Flor De Piedra is removed from their works in Finas Africae or as solo artists, allowing each to flourish in their craft with the framework of a group setting.   Delgado is prominent. His guitar playing ties the album together and his production looks as much to the albums of 70s and early 80s America than to Japan, where the background for the album is set.

While New Age and Jazz Fusion are oft considered areas to avoid, it’s actually the more discerning ear that realises these genres are some of the deepest and most free forms of musical expression.

The passion within Le Flor De Piedra displays as such. To not stop, listen and understand songs like Delta and Lucia and their ethereal reproach would be a travesty. The reissue of such a cult album is something worth more than that.

B1. Lucia

A1. Visiones Incomunicadas

B1. Sensación Melancólica

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Emotional Rescue starts its 5th year by shining a light on one of Europe’s best underground 80s’ label in Spain’s Auxilio De Ciento. Their Terra Incognita Volumes I and II collated an international mix of synth-pop, new wave, world and industrial sounds to a small but appreciative following.  

Released in 1985 and 1986, the Volumes have become highly regarded and rightly sought after, finding a place in discerning playlists from London to Amsterdam and Dusseldorf to Glasgow.  Here, taking a premise of avoiding  the songs unearthed on other recent reissues, is a unique album itself.

Starting with Denis Mpunga & Paul K’s esoteric Criola, a fusion of fourth world ideals and poly-rhythmic funk.  The music of Mal, Bene Gesserit and La Caida De La Casa Usher, however, soon highlight that the decade also belonged to dark, minimal synth as to shiny balearic ideals.  

The inclusion of Hector Zazou with Bony Biyake  and their contribution Komba, is a fitting continuation from their cult Noir Et Blanc LP  before, things continue with US avant-artist Danny Alias and his humorous Big Brother “response” to Laurie Anderson’s Superman O.   

Image Pour Image loose indie-pop and the inclusion of seminal Beast Of Burden lead again to a Zazou contribution, this time in his collaborative Stranger In A New Light, before the compilation eclectically ends with the dadaesque Lakota and the post punk dub of Instead Of’s closer, Angels .

B4. Zazou-Nodland-Lema - Stranger In The New Light

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Emotional Rescue completes the Dancefloor Records trilogy with a detour from House to the oft forgotten movement, Freestyle.   Shavonne’s So, Tell Me, Tell Me is a unique combination of all time-classic, but underground jam too.  

Emanating out of Hamilton, Ontario the one off project came about when Rose Iovio was introduced to Massimo Rosati.   Her voice and tone instantly made the team pitch at their love of the burgeoning Freestyle scene and the raw track was soon formed.

Things came together when they fell in to the orbit of Dancefloor’s Jeffrey Osbourne.  His expanding labels were looking at the new scene via the M-Pire label and under his guidance the record developed and was released in 1989.

With 3 versions included here, the breathless vocals of the original “Vocal Mix” encapsulate Freestyle in essence.   Pitched “Lovers” vocals atop arpeggios, electro-house bass and skipping hats meets breaks-influenced percussion and its all there.  Do you smirk or dance?  

For the deeper heads simply flip it for the “Trance Mix”.   Accentuating the bass, added Enigma-style vocal samples and a yearning key line and you have a late night heads down DJ tool.  

The Dancefloor series ends with the all out “Clubhouse Mix”.  A time capsule in vinyl form, everything is thrown in the mix.   Held together with a stepping bass line and stabbing keys and there you have it - things can also end with an E.

Emotional Rescue

B2. So, Tell Me, Tell Me (Clubhouse Mix)

B1. So, Tell Me, Tell Me (Trance Mix)

A. So, Tell Me, Tell Me (Vocal Mix)

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Two years after the electro-soca sensation that became of Carl & Carol Jacobs’ Robot Jam, the duo return to Emotional Rescue with a reissue of the follow up in Yonge Street Jam Band.   An update of Robot Jam’s music and riddim in a true Caribbean sense, Yonge Street is a freestyle remix and comes in the original’s Parts 1 & 2, plus a special Discomix by rising tape manipulator, Jonny 5.

Following Robot Jam on Crosby Records, the Jacobs’ husband and wife team released a series of soca 12”s for Eddy Grant’s Ice Records in the following years.   However, come 1988 and they decided to return to the electro flavours that had garnered considerable interest, reworking the Robot Jam tapes to create a new version for release on Straker's Records in Brooklyn.

Running for over 30 years from the early 70s to late 90s, Granville Straker's label was a cornerstone of the soca scene releasing main stays, reggae stars and what have become highly sought rarities such as Yonge Street and The Rebles’ Sweetest Taboo.  

In Yonge Street again the cut-up samples are there, topped with a fresh bass line and Carl’s own rap attack.   While Part 1 acts as straight up vocal version, Part 2 swerves towards scat-megamix stylings that work in their own right.    However, as with the “Disco Giant” series of 2015, this one-off return hands the tapes over for a modern reinterpretation.   

With acclaimed releases for Bahnsteig 23 and Power Cuts, plus an upcoming EP for Pleasure Wave, Jonny 5 has finally made the leap from respected CBS Forum oracle, DJ and collector with a penchant from dub to obscuro European cold wave and post punk oddities to finally sit in the producer’s chair.

After sending the label a personal mix made for his own use, he was hauled in to the studio to officially cut, mix, arrange and dub a long-form Discomix in the truest sense that perfectly creates a dance floor retake that might well be heard from boat parties off the Dalmatian cost to the open air street parties of São Paulo and all over festivals across the green fields of Europe.

B. Yonge Street Jam Band (Jonny 5 Discomix)

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Now entering a half-decade, Emotional Rescue presents an album that took almost as long to release as the label has existed. Jorge Reyes’ collaborative album with Antonio Zepeda is a masterpiece and therefore, worthy of the time and effort to share.  

From cult artist to becoming an essential musical discovery, Jorge Reyes is an example that no one discovered or owns the music beyond the writer and creator. 

Growing up in Mexico’s 2nd City, he spent much of his life dedicated to travelling and learning music traditions and instruments.  While at University to study Flute, he was involved in several influential bands of the era before going on to travel the world to further his learning, before returning to found the seminal Chac Mool group.    

By the early 80s he went solo, exploring an increasing interest in the use of Prehispanic instruments mixed with electronics.  In the opening songs, I-Cana and A La Izquiedra Del Colibri, the interplay between flute, guitar and vocals with TR-700, Poly 800 and DX7, all fuse his vision perfectly.   

The additional contribution of Antonio Zepeda’s percussion creates a timeless mystique to the album, taking you on a journey deep in the mind of one of Mexico’s most important experimental artists.   

Passing away at just 56, Jorge Reyes work was cut short, however he has left over a dozen albums to be explored. While critics increasingly question the valedictory of reissues, the premise on whether something should be heard is if it’s good. Therefore, let A La Izquierda Del Colibri be heard.

B2. Wawaki

B1. El Hacedor De Lluvia

Emotional Rescue and Jamwax ends their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic.  The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside.

“Fussing & Fighting” was originally released on the 1971 Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years.   Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomena.

Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock.   With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.  

Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into a perfectly stretched Discomix. 

Things get even more laid out on Mad Blank aka the version.  Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind.    Rest and rise, Glenroy “Capo” Adams.

ERC044

B. Mad Blank

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The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12” for the first time.

Starting in music production at just 15, White could be described as a protégée, however his take is that they were part of a music journey that continues today.   With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles.  

Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989).  A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album.   With a subsequent advance,  professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads.  

From this both Lifestream and Rain Trek emerged.  With a love of Jean Michel Jarre’s Oxygène in mind, Lifestream’s smooth beginning soon gives way to the pulse of an arpeggio driven groove.  Aiming for “relaxation with an edge”, the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums.  However, the original is aching brief, gracefully fading as part of the album’s journey.   Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. 

Seeking to take the music and listener to another place, Rain Trek took White’s interest in Sci-Fi and the mystic powers of water to a rightful conclusion.   The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

A. Clifford White - Lifestream (Extended Mix)

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Be With Records and Emotional Rescue team up to present a special release of US jazz vocal group Rare Silk and their cult song, Storm. 

A diggers cut for many years, more recently it's become an algorithm "hit". Presented here as a stand-alone limited 10" release, the song is backed by a spellbinding echo-drenched remix by New York's exemplary electronic sonic explorer, Arp. 

Originally formed when sisters MaryLynn and Gaile Gillaspie met Marquerite Juenemann in southern California in the late '70s, with the arrival of Todd Buffa the trio quickly expanded to a four-part harmony vocal group. Signed to Polydor, they rose to prominence over the ensuing decade with the release of three albums that gained them multiple Grammy nominations. 

Taken from their 1985 album American Eyes, Storm is based on a Stanley Turrentine song of the same name, from his 1971 album Salt Song. With additional vocals written by MaryLynn, as with much of their music -underpinned as it is by an otherworldly exotica - the artisanal, crafted care of the instrumental and vocal arrangements, featuring lush, rich phrasing, is evident in their exquisite reading of the song. 

When deciding how best of present the song it seemed right to ask a favourite of both labels. Having appeared on Emotional Response in 2017/18, Alexis Georgopoulos returned to his Arp project with last years' much-heralded Zebra album on Mexican Summer. Stripping out the vocals, the remaining instrumental is rearranged, rebuilt and then soaked in heavy tape echo. The result is a discerning dub to act as the perfect accompaniment.

A. Rare Silk - Smooth

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Emotional Rescue is delighted to offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots. 

The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of Le Reveil from the 1981 follow up, Au Soleil, her early works are characterised by band, orchestra and choirs complimenting her voice as one. 

This is further heard on the mystical Sorciere, psyche percussion of Secret, the marching Le Guerrier and the inclusion her first "hit" with Aurore, appearing her in all it's extended, off-kilter guitar meets organ form.

Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's Le Long De Fleuve Amour and the following 1989 opus, in Kiroel. 

L'Amour Pour Bouclier and Ne Doute Pas lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric Douleur, while the emotionally charged soundscape of Kiroel brings balance. 

Inspired by the purity of song, Kibaro's music's has a timeless essence to behold; a voice and words found through life experience - beauty, discovery, nature and dreams. 

A love and hope in music, her quest for the infinite potential in song.

B7. Elaine Kibaro - De L'Autre Côté Du Miroir

B5. Elaine Kibaro - Douleur

B4. Eliane Kibaro - Kiroël

B3. Elaine Kibaro - Aurore

B2. Elaine Kibaro - Secret

A6. Elaine Kibaro - Le Guerrier

A5. Elaine Kibaro - Le Long De Fleuve Amour

A4. Elaine Kibaro - Ne Doute Pas

A3. Elaine Kibaro - L'Amour Pour Bouclier

A2. Elaine Kibaro - Le Réveil

A1. Elaine Kibaro - Introduction

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Emotional Rescue is delighted to present the first of two EPs from British ‘80s band Furniture, starting with their much sought-after, six-song “mini-album” - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors. 

 “Transatlantic Cable” compares the clichés of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. “They’re On Me” is probably one of very few pop songs to feature double bass and the word “newsagent”, while “Robert Nightman’s Story” is powered by a riff on marimba and abrasive rhythm guitar.

 “I Miss You”, a torch song so good you’d think Julie London might have cut it.  A highlight for many is “Why Are We In Love”.  This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs.  “A Letter To Myself” introduced the band’s new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

A2. Furniture - They're On Me

A1. Furniture - Transatlantic Cable

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Emotional Rescue returns to the music of British “pop” band Furniture, with an EP of the band’s own extended versions, remixes and unreleased takes of their particular output.  

Taken from three 12”s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline.  The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play.

After the early releases garneered radio play and reviews, Furniture were launched into the melee of ‘80s pop.  An anomaly, the band found they attracted a specific kind of “intense” follower, who were often beguiled by Furniture’s freaky normality.  This was addressed on the 1984 release, ‘I Can’t Crack’.  A more urgent version of the sound Furniture had debuted with ‘Why Are We In Love’, the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim’s brother, Larry Whelan.  A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play. 

This is followed by the studio experiment ‘Throw Away The Script’, where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo.  Found on the flip of the double A -side of ‘Love Your Shoes’ 12”, this instrumental version too became an underground club hit, including a cult play at Fran Lenaer’s influential Valencia club, Spook Factory.   Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end.

The B-side continues the band’s love of making extended mixes with ‘Dancing The Hard Bargain’.  Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12” versions.  Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark. 
To close this collection is the mammoth ‘Bullet’.  Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called ‘The Lovemongers’, here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

B2. Furniture - Bullet (Unreleased Mix)

B1. Furniture - Dancing The Hard Bargain (Extended Mix)

A2. Furniture - Throw Away The Script (Instrumental Mix)

A1. Furniture - I Can't Crack (Broken Mix)

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Emotional Rescue starts a non-defined set of reissues where some of the label’s favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today’s DJs and collectors alike.  

To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense.   

Following the departure of Lemmy to the Motorhead hinterlands, the band’s sound took a wider but more defined style, including their burgeoning interest in electronics.  With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous.  The Aubergine That Ate Rangoon – itself referencing cult psychedelic band Dr. West’s Medicine Show and Junk Band’s alien invasion opus The Eggplant That Ate Chicago – with it’s use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way.  Focusing on much of Hawkwind’s musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.

This is backed with the album’s other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons.  Lanquidity rules as West Coast meets Floyd touches abound.  A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.   

An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given.  With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.

His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum.  To close, his City Of Lagoons rework becomes ‘Head’ outtake overkill.  Trippin’ beyond the light fantastic.  

Words from Cherrystones:

“When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant.  Why you ask? Because that which is close to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage.  This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

B2. Hawkwind - City Lagoon (Cherrystones Rework)

A2. Hawkwind - The Aubergine That Ate Rangoon (Cherrystones Rework)

Emotional Rescue presents a Remix EP of modern updates to Jaki & John's timeless music.   Featuring reworks from the remastered tapes by Al Usher and Apophenia, these remixes offer the perfect summer soundtrack, bringing the original spirit of the Balearics to the couple's spiritual folk-soul-jazz melting pot.

This brings the project full circle as it was Al who got the whole LP reissue rolling with a then unauthorised edit of Stay Cool a few years ago. Although unreleased the edit made it’s way to our ears and on hearing it that made putting the album out one of the first goals on setting up the label.

Initially planned as just a release of the edit, Al - with long term production partner Ewan Pearson on desk duties - turn in totally new and uplifting remix and dub of Stay Cool that will go down well on boat parties across the Med this summer. Upon hearing the unreleased live solo vocal from Jaki that is This Time, Al then asked if he could also do a remix and who are we to say no, with what is possibly the best cut of the release. Treating Jaki’s soul-tinged acapella with the utmost respect to let it’s wonder shine before taking the track deep down in to the Berlin night for the finish.

Finally we turn to the Times Dub edit from Aphophenia. Released as a dub of International Times on the frightenly rare extended 12” EP from 1983, the studio team take the originals relentless and oftmeandering drums of son Joby and overlay John’s own bass to give it more impact, while spreading a little magic of the Space Echo across Jaki’s refrain for good measure, this is a pure discoid.

Available in Summer 2013.

Jaki Whitren & John Cartwright - International Times Remix EP - ERC012
A1. Stay Cool (Al Usher Remix)
A2. Stay Cool (Al Usher Dub)

B1. This Time (Al Usher Remix)
B2. Times - Dub (Apopenia Dubit)


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B1. This Time (Al Usher Remix)

Reissue label part of the Emotional Recordings family.   All releases are licensed and remastered.

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