#FFRR

[freehoungassy83]

hi freehounnation ^_^ i madd this for you guys :33

have a goatse…… *good day 😈

[starlightbooklove]

What's up with Sam Clafin and playing characters that die 😭.

I've seen 3 Movie of him and in all three he dies wtf

[viciouscyclesradio]

Chime Remastered, 2024

More Reissues, Including Chime (1989) by Orbital on London Records

Chime (Remastered) — Orbital (2024, London Records) AKA, the Hartnoll Bros (Phil and Paul Hartnoll) remaster and reissue their debut track, Chime on London Records. First released during the same year as the Second Summer Of Love (1989) on Oh' Zone Recordings when house music had peaked in the UK. Additionally, it's also been confirmed to be more or less, a low budget demo of their production work, which went straight to the test press.

The remaster includes the original 12" versions of both Chime, and the b-side, Deeper. Out now on Apple Music, using its standard high-res lossless codec format. The original full album, (expanded and remastered) is also, now available.

[cluboftigerghost]

Second snippet from my 'Nothing Is Easy' EP entitled 'Raise Up Your Lighters', out 14th April 2023 via FFRR. ✨ Pre-save → jengi.lnk.to/NothingIsEasyEP

[iamlisteningto]

Orbital’s Orbital (Green Album)

[acmecorpgraphicsarchive]

 via  Gridllr.com   —  gridlify your Likes!

Orbital, Rest / Play, (12" Single), Design and artwork by Pete Mauder and Grant Fulton, FFRR, 2002 [Covet The Cover]

[firebarzzz]

Show & A.G. - Album: Goodfellas - (1995) - Label: FFRR - Produit par Show & A.G. - Hip-hop - New-York - Bronx

🎙️ARTIST: Show & A.G.💿ALBUM: Goodfellas📆RELEASED: (1995) 📍La Note Firebarzzz Goodfellas – Showbiz & A.G. ✨ Titre de l’album: GoodfellasArtistes: Showbiz & A.G.Date de sortie: 1995Label: FFRRGenre: Hip-hopOrigine: Bronx, New York “Goodfellas” est le deuxième album studio du duo de hip-hop Showbiz & A.G., formé par le producteur Showbiz et le rappeur A.G. Cet album est sorti en 1995 sous le…

[nineteenfiftysix]

Asian Dub Foundation - Fortress Europe (Enemy Of The Enemy, 2003)

[audio-luddite]

1961 recording

Well this is interesting. Mercury Living Presence SR90212 Chabrier by the Detroit Symphony Paul Paray conducting. A Decca Classics pressing.

Not only is everyone involved passed away so is the building the recording was done in. The Cass Technical High School. It was a HIGH SCHOOL and was demolished for a freeway. Hey it was Detroit. A High school with an FN opera house style auditorium! Times have changed. Apparently Charles Lindberg's mom taught science there.

The amazingly simple recording technique is very effective. Look it up if you want details. 3 microphones three tracks no equalization or compression. It works.

My reaction to first listen is a bit ambivalent. Everything is really immediate but I question the sharpness of the violins at full tilt. Woodwinds are spot on, drums are perfect, ambiance is well, real. It could be that the system is still warming up or I need to clean the disc more or it is just too new. Not distortion, just really hot. Or that may be what they wanted in the late 1950s. Tweeters were not so good, or those tube amps from the era.

The good parts are worth every penny. I will see if later listens are better. My system likes to be running for a couple hours to really sing. I was anxious so only one hour warm up.

This is a full orchestra playing in my living room.

OK for the dweebs this is 1/2 speed mastered at Abbey Road Studios, (yes that Abbey Road) with the final mix down from 3 track analog to 2 track digital by the son of the original engineer and producer who were a couple. The family business.

Mr Fremer may forgive that there is a digital step, but purists are wringing their hair out for the impurity. Oh get over it. (maybe that's why the violins are so edgy?) My best CD is from the same label.

Hey it came here all the way from Germany, (why do we call it Germany, but they call it Deutschland ? It's not hard to say.)

Next up Saint-Saens 3rd Symphony (Organ). Also Detroit Symphony Paul Paray with Marcel Dupre' playing the organ. SR90012 so really early in the series, a 1958 recording. I am familiar with this work. I have it on another disc, a London Ffrr twelve years newer and no slouch of a recording. Also a Decca, but Universal had not bought everybody up yet.

Oh I am really tempted to play that London to compare it is right here. That would piss off the missus. "Always the same thing!"

Here comes the organ. Spooky as organs should be as they were intended to scare the crap out of illiterate peasants. It is big and everywhere. Also a bit reserved if that is the right word. Haunting.

I gotta say right now that I think I like the London version better with Zubin Mehta in LA. Maybe I just have to turn up the volume. Ya lets try that. Oh that helps.

The tonal balance shouts 50s to me. Many of my other discs are deeper and richer sounding. Again these are not equalized or compressed according to the legends. New disc and it needs more cleaning.

Side two. Faster tempo, conductor is pushing it.

The timbre of the instruments is very nice. The metal is very metallic and love the woodwinds and brass. The image is good, and spread across my fireplace. The Organ is rich and complex with a definite growl.

Actually the quieter bits are interesting as you get more ambience. Its a good effect.

The very last part the conductor slowed it down just a bit.

This is a first impression, and I will listen again.

I could not resist. I have the last half of side two from Zubin Mehta's version spinning. 1971 issue. I prefer it. I like the interpretation more. The sound is bigger and richer. Of course it is what I have formed my original opinions with. Cool thing the MLP recording sounds like it is high up looking down. This one sounds like you are in front, which is more natural for a real concert situation. Strings not so edgy. It has more body overall. The orchestra is spread across my room properly. The London Ffrr is a good LP.

Though I prefer the way the Detroit organ sounds. I realize that the stops and tunings are set by the organist, and that is part of it for sure. Organs sound the way the performer wants them to. It was just more interesting in the MLP disc.

Again this is all first impression. LPs will sound better after a few plays when flash and tips get knocked off the vinyl. It should settle down. The tiny details of timbre are exceptional. The full orchestra going all out err, not as much fun.

As an historical document it is satisfying. Overall my ambivalence endures.

[randomvarious]

Today's compilation:

Balearic Beats (The Album Vol 1) 1988 Balearic Beat / Disco / House / Industrial

Man, this is such a momentous fuckin' album that was compiled by legends Paul Oakenfold, Pete Tong, and Trevor Fung back in '88. Here they deliver the first compilation to *ever* attempt to encapsulate the sound of the wide-ranging 'Balearic beat,' a dance phenomenon whose home was in the party capital of the world, on the Spanish isle of Ibiza, where plenty of Europeans would visit and end up drawing inspiration from. And with this album, these three guys appear to have finally successfully broken through, able to bring this very quirky vibe into the UK to coat its own exploding dance music scene during the historic 'Second Summer of Love,' which saw the Chicago-born genre of acid house reach critical mass among the youth and spawn a first generation of ravers.

But Balearic beat is not something that one can easily describe, because its most defining trait is that it really only has one rule: so long as there is some sort of tangible beat that's danceable, it'll do. Essentially, Balearic beat represents an extremely expansive coterie of a whole bunch of different genres: pop, rock, house, disco—pretty much everything that ranges between James Brown funk records and industrial music, and with blends of psychedelia, Italo flavor, plenty of leftfield experimentalism, guitar rock, and chunks of world music too. It's probably the single-most unique dance music scene that this world's ever borne witness to, and it not only allowed, but actively encouraged DJs to take unprecedented levels of risk in their own selections, as a culture of decadence, hedonism, freedom, and acceptance was nurtured and fostered.

And Oakenfold and co. really tried to bring this vibe and approach into the UK's own dance consciousness a couple times between '87 and '88, after returning from summers spent on Ibiza and opening up a couple nightclubs. But things finally started taking hold with Oakey's own Monday club night called Spectrum at gay superclub Heaven in Westminster, London. And this comp, with liner notes provided by Boy's Own's Terry Farley, represents those Spectrum club nights, as well as stuff from Shoom, which is the club where the UK's acid house movement first originated. Shoom was founded by Oakenfold compatriot Danny Rampling, whose own first trip to Ibiza with Oakey and others is what inspired him to open up the club in the first place. And Rampling took ecstasy for the first time on that Ibiza trip too 💊😁🥹.

So, from a glance, by looking at this tracklist and not having any familiarity with what Balearic beat entails, you might see this list of songs and inevitably scratch your head: Italo-jazz saxophonist Enzo Avitabile?; pop starlet Mandy Smith, who's unfortunately best known for having an underage relationship with former Rolling Stone Bill Wyman and then marrying him ���?; San Francisco avantgardists The Residents taking the bassline from "Billie Jean" and fashioning a cover of a Hank Williams honky-tonk tune out of it?; EBM group Nitzer Ebb?; industrial act Fini Tribe on a weird, cocaine-fueled tribal disco tip with ringing and clanging bells??? What on earth is this?!?!?

But don't worry, now that you have a proper frame of reference, it'll all make a whole lot more sense when you actually put this album on 😎.

And we gotta make special mention of this release's opener too, "Jibaro" by Oakenfold and Steve Osborne's Balearic electronic project, Electra. Yesterday I posted about an Italo comp that was put out by this same Pete Tong-run FFRR label called The House Sound of Europe - Vol. V - 'Casa Latina', and I remarked that although the Electra track on there really had no business being included—because it was neither Italian-made nor really a house tune—it was still the best track that that comp had to offer, as it was the pure ultimate in 80s Ibiza silky-chillness. But this "Jibaro" track, a cover of a mid-70s Spanish psychedelic disco-funk tune, and whose own 12-inch art inspired the album art for this comp itself, represents a different branch of that girthy Balearic tree, because this one's a full-fledged house jam; slower than a typical house tune, but a house tune nonetheless; and with a richly patched-together sonic quilt of different sounds that *majorly* diverges from all the black, queer, and acid-jacking beauty that'd been emanating from Chicago.

So, ultimately, this was a very important album in the grand scheme of things. Balearic beat brought a very elastic dimension to the acid house movement writ large in the UK, and if you'll now all allow me to unveil my corkboard-and-yarn setup here to give you all a parting glimpse of just how intertwined all of this got within the UK's own vibrant, fluid, and interconnected music landscape, let's bring all of this full-circle by talking about legendary Manchester new wave band New Order.

New Order once took a two-week trip to Ibiza that had such a profound effect on them that it yielded their fifth studio LP, Technique, in 1989. And they also owned a very popular club in Manchester called The Haçienda. In '88, The Haçienda would launch its own Ibiza-themed club nights, which then played an integral role in the development of the city's own Madchester scene, a style of alternative dance music that saw indie bands mesh their sound with psychedelia and acid house beats. And one of Madchester's biggest landmarks ended up being 1990's Pills 'n' Thrills and Bellyaches, an album by a group called Happy Mondays that was co-produced by none other than the Electra boys themselves—Paul Oakenfold and Steve Osborne! 🤯

Highlights:

Electra - "Jibaro" Code 61 - "Drop the Deal" Beats Workin' - "Sure Beats Workin'" Enzo Avitabile - "Black Out" Mandy Smith - "Mandy's Theme (I Just Can't Wait) (Cool & Breezy Jazz Version)" The Residents - "Kaw-Liga (Prairie Mix)" The Woodentops - "Why Why Why (Live)" Fini Tribe - "De Testimony (Collapsing Edit)" The Thrashing Doves - "Jesus On the Payroll"

[kaiserkisser]

for the “i want to ___ you” thing my immediate thought was platonic cheek kiss/cuddling hut then my second thought was to put you in a blender and drink you lovingly

HELPSJSHS FFRR THATS WHAT I THOUGHT FOR A FEW PPL TOO uno reverse omfg and im CRYING why am i being blendedddd 😭😭 /j/j tbh id say i want to COMMIT CRIMES with you but hugs work too hehehe (AND ARSON TOO MWAHAHA ) (for legal purposes this is a joke)

[yung-notorious]

LMAOO FFRR sir was getting to comfortable I suggest he take several steps back especially after hearing he would not drop his own hoesss OHHH WHITE HAIRED LITTLE FREAK——-

This comment has me dead I’m cryinnnn. because why men love asking us if we got hoes??? But he gonna tell y’all to mind yall business. Please go somewhere 😭

[plus-low-overthrow]

PHOTO 45: Al Green - Simply Beautiful (London / FFRR, Jamaica press)

Acoustic Al Green on this Jamaica 45, seek this track out!

[mudwerks]

(via TAM TAM & Mélodie)

Stanley Black and his orchestra - The Music of Richard Rodgers (London ffrr LL 1209)

[cluboftigerghost]

The fourth and final snippet from my 'Nothing Is Easy' EP entitled 'Champion Sound', out 14th April 2023 via FFRR. ✨ Pre-save → jengi.lnk.to/NothingIsEasyEP