{"title":"Compilations","description":null,"products":[{"product_id":"various-a-snapshot-in-time","title":"Various - A Snapshot In Time","description":"\u003cp\u003eBack in September 1962, the only Beatles records in the shops saw them backing Tony Sheridan on a goosed-up version of My Bonnie, Their debut single Love Me Do would be released in October 1962 and the seismic change they brought to music worldwide would occur once the band achieved light speed in 1963. There was, however, before Beatlemania a thriving music culture that dropped anchor in a number of ports. Proto pop charts might be dominated by the likes of Cliff and his Shadows, crooners and sweet looking pop idols who brushed their teeth but R\u0026amp;B was gently finding its way into record racks either through imports or a growing number of home grown cover versions. The Motown sound was taking root in Detroit, America and already filtering into the UK on poor selling 7” singles on London and Fontana.\u003c\/p\u003e","brand":"ACE","offers":[{"title":"2CD","offer_id":53021334143318,"sku":"MRM-00012","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDTOP1623-ASnapshotI_1200_1200.png?v=1785238377"},{"product_id":"various-dolly-parton-a-way-to-make-a-living-the-dolly-parton-songbook","title":"Various (Dolly Parton) - A Way To Make A Living: The Dolly Parton Songbook","description":"\u003cp\u003e\u003cspan\u003eName any recording that you immediately associate with Country music legend Dolly Parton and there’s a better than average chance that she not only sang it, she wrote it too. Dolly has been recording regularly since the mid-60s and almost every major hit she has ever had (and quite a few minor ones too) she wrote or co-wrote.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e Somehow this important component of her overall musical skillset is all too frequently overlooked by the public at large, who know Dolly for her luminous public image and gregarious personality without necessarily realising that she is also a brilliant songwriter.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDolly Parton wrote hit songs for other artists before she really had any hit records of her own. The ink in her pen has never gone dry and although she’s not as prolific as she once was, she still writes songs – these days mostly for herself – that other artists are happy to record.  A generous sampling of her best work from more than half a century of song-writing is collected here in Ace’s latest instalment of our long-running and highly-regarded ‘Songwriter Series’.\u003c\/span\u003e\u003c\/p\u003e","brand":"ACE","offers":[{"title":"CD","offer_id":53021346300246,"sku":"MRM-00016","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDTOP-1626-Ace-TheDo_1_1200_1200.png?v=1785238825"},{"product_id":"various-artists-all-the-young-droids-junkshop-synth-pop-1978-1985","title":"Various Artists - All The Young Droids: Junkshop Synth Pop 1978-1985","description":"\u003cp\u003eA new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music.\u003c\/p\u003e\n\u003cp\u003eCompiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.\u003cbr\u003e\u003cbr\u003eComplete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer, Simon Murphy, many from vinyl copies due to lost master tapes.\u003cbr\u003e\u003cbr\u003eThe story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention.\u003cbr\u003e\u003cbr\u003eThere are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk \/ underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop\/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now.\u003cbr\u003e\u003cbr\u003eThe flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reed-style sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on, the song resolves with a glorious return to the main refrain.\u003cbr\u003e\u003cbr\u003eThe dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label, Stroom TV, Dee Jay Bert \u0026amp; Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner.\u003cbr\u003e\u003cbr\u003eAll The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. 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It used string quartets, harpsichords and woodwinds to create a summer-into-autumn melancholy that was quite new, and quite far removed from rock’n’roll as Eddie Cochran would have known it. Baroque pop’s musicians often came from a folk background, with an affinity for acoustic instrumentation. Linda Ronstadt's first band the Stone Poneys had introduced the autoharp to their line-ups in 1965, while the likes of Bonnie Dobson and Nico experimented with a string quartet’s, searching for different, post-electric Dylan directions.\u003c\/p\u003e","brand":"ACE RECORDS","offers":[{"title":"LP","offer_id":53021359800662,"sku":"MRM-00086","price":28.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":53021360062806,"sku":"MRM-00087","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDTOP-1657-AmericanB_1_1200_1200.png?v=1785422776"},{"product_id":"various-a-square-of-course","title":"Various - A-Square (Of Course)","description":"\u003cp\u003eJeep Holland’s Ann Arbor label and agency A-Square was the flashpoint for the late 1960s Detroit rock revolution. “A-Square (Of Course)” features historic recordings by luminaries MC5, Thyme, Scot Richard Case and Frost, plus the rarely-heard Prime Movers, with a young Iggy Pop on lead vocals.\u003c\/p\u003e\n\u003cp\u003eFrom Del Shannon through Mitch Ryder and Motown and its many offshoots and imitators, Michigan’s rock’n’roll past is tremendously rich – but without a doubt, it is the “high energy” Grande Ballroom era of the MC5 and Stooges that has captures the imagination of the rock fan. Detroit’s rock scene of the late 60s was part of the grass roots rock milieu, clustered in towns like Flint, Kalamazoo, Grand Rapids, East Lansing and, significantly, the college town of Ann Arbor, forty miles west of Detroit. This was the place that music fanatic Hugh “Jeep” Holland established his set up. Jeep traditionally does not get the credit he deserves in his stewardship of Detroit 60s rock’n’roll between 1965-70 but to a large extent, he was the region’s first tastemaker.\u003c\/p\u003e","brand":"BIG BEAT","offers":[{"title":"CD","offer_id":53021389390166,"sku":"MRM-00216","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDWIKD-274_1200_1200.png?v=1785239994"},{"product_id":"various-ian-rankin-behind-the-counter-with-ian-rankin","title":"Various (Ian Rankin) - Behind The Counter With Ian Rankin","description":"\u003cp\u003e\u003cspan\u003eRough Trade Shops presents Behind the Counter with Ian Rankin, the second instalment in a compilation series inviting artists to curate mixes of the music that has most influenced them, sourced from records sold on the Rough Trade shop floor.\u003c\/span\u003e\u003c\/p\u003e","brand":"ROUGH TRADE SHOPS","offers":[{"title":"Limited Green 2LP (with exclusive signed print)","offer_id":53021393846614,"sku":"MRM-00285","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/3a7e42181f6f685babcfaf3019fb3330.jpg?v=1775187166"},{"product_id":"various-bob-stanley-pete-wiggs-incident-at-a-free-festival","title":"Various (Bob Stanley + Pete Wiggs) - Incident At A Free Festival","description":"\u003cp\u003e“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.\u003c\/p\u003e\n\u003cp\u003eCompiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Grower of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by the rare Ejection single.\u003c\/p\u003e","brand":"ACE","offers":[{"title":"CD","offer_id":53021402825046,"sku":"MRM-00447","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDCHD-1619-INCIDENT-_1_1200_1200.png?v=1785424697"},{"product_id":"various-bob-stanley-liverpool-sunset-the-city-after-merseybeat-1964-1969","title":"Various (Bob Stanley) - Liverpool Sunset: The City After Merseybeat 1964-1969","description":"\u003cp\u003e‘Waterloo Sunset’ is now regarded as the greatest song about London. It comes as a shock, then, to discover it was originally about another city altogether. Watching acts who had been huge stars just three years earlier but now couldn’t buy a hit – The Searchers, Billy J Kramer, Gerry and the Pacemakers – the Kinks’ Ray Davies wrote ‘Liverpool Sunset’ in sympathy.\u003c\/p\u003e\n\u003cp\u003eCompiled by Saint Etienne’s Bob Stanley, with comprehensive sleevenotes, “Liverpool Sunset” investigates a thrilling but overlooked era in the city’s musical history, covering soul, R\u0026amp;B, psychedelia and freakbeat.\u003c\/p\u003e\n\u003cp\u003eAs this collection makes clear, the city was still producing new acts in the late 60s, and still making great records, it was just that the world had started looking elsewhere for its musical fix.\u003c\/p\u003e\n\u003cp\u003eBy 1965 the Iron Door club, once the Searchers’ Merseybeat home, was beginning to host soul all-nighters where local band the Chants were often on the bill. The Cavern was by now hosting the likes of Solomon Burke, Stevie Wonder and Ben E King.\u003c\/p\u003e\n\u003cp\u003eAll of this music was an inspiration to the next wave of Liverpool acts like Just Four Men, Tiffany’s Thoughts and the Clayton Squares. The latter were so highly regarded that breaking out nationally seemed a formality: they had two singles released on Decca, a six-week stint in Hamburg, a Ready Steady Go performance, and management by both the Cavern’s owner Bob Wooler and London tough-nut Don Arden.\u003c\/p\u003e\n\u003cp\u003e“Liverpool Sunset” also includes overlooked tracks by some of the original Merseybeat stars, Billy J Kramer’s soulful ‘We’re Doing Fine’ deserves to be better known, and Cilla Black’s wildly odd ‘Abyssinian Secret’ in 1968 was considered too outré by Parlophone and ended up buried on an EP. Adventurousness wasn’t an issue. Joe Meek produced both the Cryin’ Shames and Billy Fury’s brother Jason Eddie, while McGough and McGear had Jimi Hendrix helping out on the terrific psych-pop So ‘Much In Love’.\u003c\/p\u003e\n\u003cp\u003eHere are two dozen lost gems; 60s Liverpool classics once hidden now uncovered…\u003c\/p\u003e","brand":"ACE","offers":[{"title":"CD","offer_id":53021402857814,"sku":"MRM-00449","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/CDTOP-1651-Liverpool_1200_1200_1024x1024_394993e3-391a-41d4-9480-f0e5c0336f4f.png?v=1785427382"},{"product_id":"various-c86-the-deluxe-edition","title":"Various - C86 - The Deluxe Edition","description":"\u003cp\u003e\u003cspan\u003eBack in May\/June 1986, the New Musical Express released one of their regular mail-order cassettes. Reflecting the latest trends in Indie music, C86 was a 22-track cassette which was inspired by the NME’s C81 tape from half a decade earlier. Aside from a few name bands (The Pastels, Primal Scream, the Wedding Present, the Mighty Lemon Drops), most acts were relatively unknown beyond the back pages and gig listings of the weekly music press. A few hadn’t even issued a record!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eC86 slowly but surely became the NME’s best-selling ever compilation, selling an estimated 40,000 copies and eventually being reissued on LP and cassette by Rough Trade the following year. C86 prompted a week of shows at the ICA and would come to embody a whole musical style and era.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis deluxe expanded edition of the original C86 cassette adds some 50 bonus tracks. The box set is curated by original compiler Neil Taylor and has the endorsement of the NME. Neil has chosen tracks which could conceivably have been on the original C86 package: all the recordings were made between mid-1985 and mid-1986. Neil wrote about many of the bands at the time.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe C86 3-CD has been assembled by the same team behind 2013’s Award-winning 5-CD box set “Scared To Get Happy” (AIM Best Catalogue Release Of 2013). Many tracks have never been on CD before. A few are even previously unreleased. Key names include The June Brides, The Jesus \u0026amp; Mary Chain, The Primitives, That Petrol Emotion, Jesse Garon \u0026amp; The Desperadoes, Happy Mondays, The Nightingales, The Railway Children, Pop Will Eat Itself, BMX Bandits, the Blue Aeroplanes and Treebound Story (featuring Richard Hawley).\u003c\/span\u003e\u003c\/p\u003e","brand":"CHERRY RED","offers":[{"title":"3CD In Clamshell Box","offer_id":53021410066774,"sku":"MRM-00555","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/crcdbox12.png?v=1785169714"},{"product_id":"various-artists-cafe-exil-new-adventures-in-european-music-1972-1980","title":"Various Artists - Cafe Exil: New Adventures in European Music 1972-1980","description":"\u003cp\u003e\u003cstrong\u003eWhen David Bowie and Iggy Pop escaped LA to go Interrailing in the mid-70s, they heard a new European music that was largely devoid of Anglo-American rock influence: the German motorik sound, flashes of jazz, experimentation and electronica. In West Berlin, one of their favourite haunts was Kreuzberg’s Cafe Exil, a smoky hang-out for beats and intellectuals. This is its imaginary soundtrack.\u003c\/strong\u003e\u003c\/p\u003e","brand":"ACE RECORDS","offers":[{"title":"CD","offer_id":53021410132310,"sku":"MRM-00556","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/a65a5925ae2ae12080703c80c1f41459.jpg?v=1775188667"},{"product_id":"various-caroline-now-the-songs-of-brian-wilson-and-the-beach-boys","title":"Various - Caroline Now! The Songs Of Brian Wilson And The Beach Boys","description":"\u003cp\u003eCompilation produced by Stefan Kassel \u0026amp; Frank Lähnemann\u003c\/p\u003e","brand":"MARINA RECORDS","offers":[{"title":"2LP In Gatefold Sleeve","offer_id":53021413245270,"sku":"MRM-00588","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/caroline-now.png?v=1784199622"},{"product_id":"various-artists-bob-stanley-presents-chip-shop-pop-the-sound-of-denmark-street-1970-1975","title":"Various Artists (Bob Stanley Presents) - Chip Shop Pop: The Sound Of Denmark Street 1970-1975","description":"\u003cp\u003eA stellar collection of super-melodic, expertly crafted songs; it gathers two dozen of the songs that got away, all potential hits written by these Denmark Street-schooled songwriters.\u003c\/p\u003e\n\u003cp\u003eYou might have only heard these records once or twice before, coming out of a passing kid's transistor radio, or in the background in a cafe, or a chippie, and then they disappeared into the ether never to be heard again - until now. Aside from the Fortunes, Marty Wilde and Candlewick Green, very few of these names will be at all familiar but the harmonies, the string and brass arrangements and top session musician playing will all be familiar to anyone who loves the sound of ‘My Baby Loves Lovin'’, ‘Silver Lady’ or ‘(If Paradise Is) Half As Nice’. They are all incredibly catchy.\u003cbr\u003e\u003cbr\u003eCompiled by Bob Stanley from his sizeable collection of 70s 7\" singles, ”Chip Shop Pop” revives records on Bell, UK, Young Blood and Bradley's, labels that were home to these unabashed radio-friendly sounds that would disappear when first disco, then punk, came along later in the 70s. Dormant for decades, many unavailable for more than fifty years, here is a perfect collection of sunshine-friendly pop with a capital P.\u003c\/p\u003e","brand":"ACE","offers":[{"title":"Vinyl Lp","offer_id":53021417636182,"sku":"MRM-00651","price":28.99,"currency_code":"GBP","in_stock":false},{"title":"Cd","offer_id":53021417668950,"sku":"MRM-00652","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/XXQLP2-151-CSPcover_1_1200_1200-1.png?v=1785422165"},{"product_id":"various-choctaw-ridge-new-fables-of-the-american-south-1968-1973","title":"Various - Choctaw Ridge - New Fables Of The American South 1968-1973","description":"\u003cp\u003e“Choctaw Ridge” explores a new country sound, one that emerged at the end of the 60s in the wake of Bobbie Gentry’s ‘Ode To Billie Joe’, a shock number one hit in 1967. When singers like Gentry, Jimmy Webb, Michael Nesmith and Lee Hazlewood moved from the south to Los Angeles to make it in the music business, they were not part of the Nashville in-crowd and they forged a new direction.\u003c\/p\u003e\n\u003cp\u003e'Ode To Billie Joe’ was the tip of the iceberg, and its success helped a bunch of singers and storytellers to emerge over the next three or four years. Some of the tracks on this collection bear that song’s stamp more clearly than others: Sammi Smith’s moody ‘Saunders’ Ferry Lane’ had a similar mystery lyric, and Henson Cargill’s ‘Four Shades Of Love’ is a portmanteau, with one (or possibly two) of the theoretically romantic situations ending in death. \u003c\/p\u003e\n\u003cp\u003eSuddenly, character sketches of southerners became a lot more rounded – women didn’t have to stay home, or take abuse at the office, and darkness wasn’t only found at the bottom of a bottle. Storytelling is the link between all of the songs on this collection. We have cautionary tales about what could happen to someone who heads for the bright lights and doesn’t make it, ending up in the grasping hands of ‘Mr Walker’ (Billie Joe Spears), or on the ‘Back Side Of Dallas’ (Jeannie C Reilly), or on a mortuary slab in the case of the songwriter with the ‘Fabulous Body And Smile’ (Robert Charles Griggs). And there are stories about wanting to go home – Nat Stuckey’s ‘What Am I Doing In LA?’ and Charlie Rich’s ‘Feel Like Going Home’ – and others from Ed Bruce and Lee Hazlewood, who know that their home isn’t home anymore. \u003c\/p\u003e","brand":"ACE RECORDS","offers":[{"title":"CD","offer_id":53021417734486,"sku":"MRM-00653","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/XXQLP2-078-Choctaw-R_1200_1200.png?v=1785428036"},{"product_id":"various-the-daisy-age","title":"Various - The Daisy Age","description":"\u003cp\u003e\u003cstrong\u003eIt wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that briefly permeated pop, R\u0026amp;B and hip hop. The name was coined by Long Island trio De La Soul; they claimed D.A.I.S.Y. stood for “da inner sound, y’all”, but then De La Soul said a lot of things. Playfulness and good humour were central to their 1989 debut album, which cast a long, multi-coloured shadow. The 90s, it promised, would be a lot easier going than the 80s.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn Britain, the timing for De La Soul’s “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989. Just 18 months earlier, snobbery had been so rife that Bomb The Bass’ ‘Beat Dis’ was faked as a US import (pressed in the States, then imported back) to get club play; by the summer of ’89, however, something as previously unhip as Chris Rea’s ‘Josephine’ could become a dancefloor hit and indie veterans Primal Scream would be reborn as space-seeking Sun Ra initiates and still taken seriously. Ecstasy was largely responsible, of course, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of rising New York rap acts the Jungle Brothers and De La Soul, both at the heart of a growing collective called Native Tongues.\u003c\/p\u003e\n\u003cp\u003eWhat was so new about De La Soul’s sound? Previously, sample material for hip hop had been almost exclusively taken from 60s and 70s soul and funk, especially from James Brown and his extended family – Bobby Byrd, Maceo Parker, Lyn Collins, the stuff of purists. The freewheeling collage of “3 Feet High And Rising” gleefully raided the non-U catalogues of Billy Joel and Hall \u0026amp; Oates; soul heroes Wilson Pickett and the Mad Lads were now abutting such unlikely material as the Turtles’ ‘You Showed Me’ and French Linguaphone lessons. The Invitations’ sweet, Drifters-like ‘Written On The Wall’ provided the hook for De La Soul’s first single ‘Plug Tunin’’ which, along with follow-up ‘Potholes In My Lawn’, referenced “the daisy age”. With the album including a cover of Bob Dorough’s ‘Three Is The Magic Number’ from Schoolhouse Rock – a song every American kid knew from Sunday morning TV – the essence of Sesame Street was everywhere.\u003c\/p\u003e\n\u003cp\u003eBy 1989 hip hop had made major inroads in Britain with rock fans (via Run DMC) and pubescent teens (the Beastie Boys), while NME writers had voted Public Enemy’s “It Takes A Nation Of Millions To Hold Us Back” the best album of 1988. Still, it had an air of exclusivity, with Tim Westwood its mirthless UK gatekeeper. De La Soul were also fans of Public Enemy, the Beastie Boys and Run DMC; they were fans in general, and threw their love of music into the blender, giving more time to melodies and mind-expanding samples while most contemporary rap records still revolved around the biggest sounding beats.\u003c\/p\u003e\n\u003cp\u003eAs hip hop rapidly became a bigger commercial concern, rights owners smelt money and – for the rest of the 90s – made sample clearance unfeasibly expensive. Robbed of their pick-and-mix approach, some Daisy Age-era acts moved towards consciousness and a jazz-leaning live feel, which down the line would lead to the rise of Arrested Development, and beyond them the Fugees and the Roots; meanwhile, on the West Coast, the gut-churning violence and misogyny of Dr Dre’s “The Chronic” took rap to a whole new commercial level. 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Perhaps less known is that Ireland is a wellspring of amazing solo acoustic guitar talent. Guitarist, Cian Nugent, recruited some of the leading lights of Irish guitar to create 'Imaginational Anthem vol. XIV : Ireland'. \u003cbr\u003e\u003cbr\u003e\"Perhaps the intention of putting this collection together was to show a different side of Irish guitar. The guitar has often played a questionable role in Irish music. Its tendency towards bashing and harmonising has many times raised eyebrows at traditional sessions, and the good lord knows the dread that befalls faces when a guitar is produced unprovoked at a party. Passing a Dublin tourist trap pub, the sound of a plastic piezo strum can elicit horror in the passerby. But the guitar can also be a tool for dreaming and mystery. It can soothe a sleepless night or transport us in memory. \u003cbr\u003e\u003cbr\u003eThis compilation includes guitar that does just these things by some of Ireland’s most imaginative guitarists. Some brief introductions: \u003cbr\u003e\u003cbr\u003eDavid Murphy is a pedal steel player from Cork who has recently been arranging Irish tunes for the steel in a way that is perfectly familiar yet unusual. The March of The King Of Laois is an old pipers’ tune from the 16th century, which David has worked his magic on arranging for the steel. Brendan Jenkinson is a guitarist and producer from Meath who I’ve known for a long time. I’ve often urged him to record some of his solo music, and he has finally given in and done just that, resenting his original Paris Blues. I am excited to see what comes next. \u003cbr\u003e\u003cbr\u003eJunior Brother AKA Ronan Kealy is a guitarist and songwriter from Kerry known for his powerful lyricism and singing, whose playing I’ve admired since I first heard it many years ago. He takes on the traditional tune The Lark In The Morning in a way I’ve never heard before, infusing it with joy. Caoimhe Hopkinson is a Irish-Okinawan guitarist from Mayo who grew up playing traditional music. She has become an in demand guitarist and bassist and her solo guitar playing has a unique and lyrical way of approaching traditional tunes fingerstyle such as Jamieson’s Favourite. \u003cbr\u003e\u003cbr\u003eDamian O’Neill is a guitarist from Derry who is probably best known for playing with the bands The Undertones and That Petrol Emotion. More recently he has been crafting reflective delicate instrumentals, which draw on traditional music and blend it with a contemporary sensibility, such as his original Inside Out. My own selection is a traditional Irish tune called I Am Asleep And Don’t Waken Me that I learned from the harp arrangement, which I’ve seen credited to both Turlough O’Carolan and Edward Bunting. \u003cbr\u003e\u003cbr\u003eThose who know me may notice the title’s aptness to my own wont to slumber. It seemed remiss to compile a record of Irish guitar music without mention of Arty McGlynn, the Tyrone guitarist who reimagined what was possible for the guitar in Irish music, exploring the instrument as a melodic vehicle rather than simply an accompaniment. Tyrone musicians Jerome McGlynn (son of Arty) and Mark McKowski (known as half of The Lost Brothers) render a beautiful take on Arty’s arrangement of the traditional tune The Blackbird. \u003cbr\u003e\u003cbr\u003eNC Lawlor is a guitarist originally from the north of England who has called Dublin home for a long time, and is known for providing beautiful live soundtracks to the city’s streets for many years. I’ve long been a fan of his playing and was excited to include his original Laurie Rose. Aonghus McEvoy is a guitarist and improviser from Dublin who I’ve known since we were teenagers. He grew up playing in punk bands and in more recent years has taken to exploring solo acoustic playing. His arrangement of Jimmy Guiffre’s Cry, Want is processed into a drastically different context, giving space for him to roam the melody and ruminate over the form. \u003cbr\u003e\u003cbr\u003eSean Carpio is an Irish Peruvian musician from Dublin who is usually known as a jazz drummer but never ceases to confound and surprise people by the many strings to his bow. He has a solo guitar practice that he has been developing almost in secret for many years and I was pleased to bully him into recording some of it for this record. His piece Labour of Love is an original written while watching the James Graham play of the same title on television. 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