Real Lies

North Circular / Dab Housing

    Real Lies are a London electronic pop band formed in 2012. Real Lies' music expresses late-night euphoria at the same time as it embraces the horrors of the following afternoon, twinning street bravado with bedroom vulnerability, loss with longing. It is music about burying yourself in an avalanche of words and warm bodies in an endless search for the right ones.

    Kerri Chandler has always taken his music to the next level, he's always been original and pushed the limits throughout his illustrious twenty plus year career, thus giving him the title of a bonafide "House legend". Digging through the vaults of King Street you will see Kerri's name pop up time and time again and this, the first of two samplers, is designed to celebrate the man and some of his classic contributions to the label.

    Featured on sampler number one we have Chandler productions and remixes across the board, featured tracks include the raw Gospel House of Bassmental Feat. Charles McDougalds "It's The Music (King Street Club)" and "Just Wanna Be With U (King Street Mentality Club)" and the storming "King St Tracking Ya" dub of Nuphonic and Charvoni's "I Wanna Be Your Lover", all solid dance-floor smashers, all with that special Kerri Chandler bounce, all essential!

    All cuts featured on this sampler have all been carefully selected, re-mastered and re-pressed in conjunction with King Street Sounds.

    Juju & Jordash

    Clean Cut Album Sampler

      Dutch duo Juju & Jordash live up to their reputation for being predictably unpredictable, dropping a single sided album sampler out the blue, with no mention of the new album or a track title. Thankfully, as ever with the boys, you can count on the quality to be sky high whatever ramshackle noise they're sinking their teeth into. This time round the platter provides a warm synthetic pulse on top of a bubbling bassline, both of which undulate nicely through the fug of tape saturation until finally unleashing the panpipe/jug band duet that we've all been waiting for. Melding the organic and synthetic like an environmentally conscious, dancefloor destroying Monsanto, J&J step up to the plate and smash it out the pat once again.

      There are few names in house music today which need less of an introduction than Masters At Work. The duo of Louie Vega and Kenny 'Dope' Gonzalez have forged a reputation for genre-eschewing DJ sets and flawless house production during careers which have spanned decades and seen hundreds of releases and remixes. Their influence and reach changed house forever. Taking the song-writing ability of Vega and fusing it with Gonzalez's encyclopaedic knowledge of breaks and hip-hop, the pair created a smooth-yet-underground sound that is still being copied and referenced by producers today.

      Now, for only the second time in their 25 year partnership, they've put together a “Best Of” collection for Defected Records.

      The timing couldn't be more apt as we're in another era dominated by deep house, a genre MAW were at the forefront of when it first emerged in the mid-90s. But to tie them to one sound would be far too simplistic. Masters At Work have always operated according to their own rules and their own sound. Whether it's the sampling techniques of hip-hop, the swing of Latin styles or the soulful euphoria of house – they've always added their own special ingredients, which is what makes Masters At Work genuine dance music legends

      Some classic Kelli Hand biznizz here, beaming forward from 1993 on the producer's Acacia imprint, remastered, repressed and rereleased to fuck shit up for a new generation. The queen bee rocks the A-side with the slamming Detroit Techno bomb "Everybody / You Give Me", a heavy duty looping monster of a track punctuated by immediate vocal stabs. This is rough and tough Detroit business, an excellent DJ tool that keeps the funk strong throughout. Over on the flip we have the legendary Claude Young who turns in two mixes of the futuristic sounding "You Give Me". Stripped back and funky with tight, choppy drum programming and clipped vocal samples weaving in and out of the mix, this one is another sure fire weapon in both dub and the instrumental forms. This 12" has long been sought after and has changed hands for £50 and upwards online; all in all an essential addition to any self respecting Detroit fanatics record collection and an indispensable record to have in any DJ bag.

      Luca C & Brigante


      Luca C & Brigante finally reissue their enchanting edit from 2010's vintage year. Originally pressed in small numbers and soon after unavailable to all but a few discerning gentlemen, it's now available to anyone with exquisite taste and style. We can only hope this is the label's resurrection and that the catalogue number hints to a stream of intimately curated releases of cross genre material – psychedelic beach pop, retro future Balearica, analogue gypsy jazz or maybe something from Slovakia. If you haven't been sipping juice to this slo-mo marvel before, carpe diem. "Lucio" is a marvelous halfway house between an edit and a 'cosmic remix' of Italian maestro Lucio Battisti's "Amarsi Un Po", which floats out the speakers as an effortlessly beguiling sonic vignette of transcendental beauty, guaranteed to enchant the wariest of listeners. Bliss!

      This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide since it's original release. It has never been reissued in it's entirety...until now. Featuring deep house classics "Making A Living", "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" captures the perfect essence of classic club music where disco and house music collide in the melting pot of NYC. An absolutely essential release from a classic era of NYC dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!

      James 'Jack Rabbit' Martin

      There Are Dreams And There Is Acid

      Still Music maestro Jerome Derradji hits us with a little teaser from his latest compilation "Kstarke Records - The House That Jackmaster Hater Built." This time round the name of the game is rare, lost and previously unreleased Chicago juggernauts from the underground realm of Jackmaster Hater, aka Kevin Starke. What better way to get started than with the track considered by the experts as the sickiest acid track ever, "Only Wanted To Be" by James "Jack Rabbit Martin". This sampler includes the utrageously rare and previouly unreleased version of that cut, a heavyweight, driving and borderline progressive acid anthem with the creepiest vocal you've ever heard. On the flip, "Rabbit Trax" pulls the rug from under us and lets us fall deep into the acid wormhole (or should that be rabbit hole?) with only 303 lines and flanged hats for company. Heavy shit.

      Gregor Curten & Anselm Rogmans


        Wah Wah Records proudly presents a luxury vinyl reissue of this rare 1974 private pressing. Cool long electronic experiments splitted in two tracks, one on each side. Recorded in one take and offering an astounding combination of synth drones, wordless vocals, ambiental electric organ and ethereal guitar arpeggios.

        An outstanding work that moves away of the more classical kraut cosmische sounds to walk darker paths, yet retaining some early Kluster reminiscences.

        The Wah Wah reissue comes to life thanks to the cooperation of Gregor Cürten himself, this new LP and the 2012 CD release on Entr'acte are the only legit reissues of this great lost piece of kraut music history. Don't be fooled by imitations!

        Limited to only 500 copies. Remastered sound and featuring an insert with liner notes.

        Mark Jenkins

        Analog Archives

          A leading figure in the UK’s electronic music scene, Mark Jenkins has played with White Noise, Arthur Brown and members of Can, Gong, Van Der Graaf Generator and Tangerine Dream. He is the author of the acclaimed books Analog Synthesizers and iPad Music (Jenkins became the first musician in the world to release a CD created entirely on the Apple iPad).

          Analog Archives is a collection of recordings from the early to mid eighties. Armed with his Moog Sonic Six, Sequential Prophet 600, EDP Wasp & Spider and other legendary electronic weapons Mark Jenkins delivers envolving electronic textures that could be filed along those of artists like Klaus Schulze or Ash Ra Tempel.

          These recordings are issued in vinyl format for the first time ever, in a limited edition of 500 copies only.

          Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier 's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness'. Since 1980 he has been an integral part of the ancient music group 'Atrium Musicae '. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group 'Finis Africae' as a sonic investigation into a fusion o f diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

          As a solo artist, his career blossomed when, in 1985, he recorded his first LP, the acclaimed 'Recoletos' and he has since recorded thirteen solo albums . With Luis Delgado he recorded the now classic album 'La Fl or De Piedra' under the name Ishinohana and regularly appears with singer Ismael Serrano. Javier has composed music for and collaborated on many documentaries, films and advertisements as well as collaborating on protects with a myriad o f artists including Maria del Mar Bonet, Joaquin Diaz, Vainica Doble, Marina Heredia, Pablo Guerreo, Antonio Vega and Cafe
          del Mar. Today he participates in the Sephardic music groups 'Halilem' and 'Alquibla', as well as diverse alternative chamber music groups. Javier works around the world as composer, arranger and producer and he appears daily with Manolo HH on Radio Nacional de EspaNa.


          CD Info: CD includes 5 bonus tracks

          Ultimate Painting

          Ultimate Painting

            Jack Cooper (Mazes) & James Hoare (Veronica Falls) are Ultimate Painting. The two formed a fast friendship when Jack’s band Mazes were on tour supporting James’ band Veronica Falls, sharing similar tastes in music, art & films. It wasn’t until after returning home that a musical synergy was formed. After numerous demos were exchanged, a few casual jam sessions turned into something more; a partnership. Christening themselves after a piece of art by the Southern Colorado desert community (and fanciful geodesic dome-builders) “Drop City ”, the lads set to work recording their debut proper.

            “Ultimate Painting”s ten songs are the fruits of that labor; a collaboration in the truest sense, with each member compsing five songs each creating a seamless journey that is both pastoral & cosmopolitan. Starting off with the breezy “Ultimate Painting”, the tone is set; a woozy & deliberate tune whose simple melody is complimented by two intertwining guitar lines that ride off into the sunset. The album catches fire after that, from the melodically mellow “Can’t You See?” & the yearing, gothic romance of “Riverside” to the bouyant “Rolling In The Deep End” & “Jane” whose sunny melodies belie the workings of the classic “Femme Fatale” who will “bring destruction to you...” “Ten Street ” is the centerpiece of the record, a shuffling head-bopper with hook after hook that ends in two blazing, interlocking guitar solos. The album closes on with “ Winter In Your Heart ”, a song about embracing new paths that life presents - awash in a fog of fond melancholy for chapters past. Ultimate Painting is a new chapter for both of these fellas & the future looks ver y exciting.

            RIYL: Mazes, Veronica Falls, Velvet Underground, Feelies, Parquet Courts, Television


            LP Info: Pressed on black vinyl, includes a printed inner sleeve & includes a download code.

            Bulbous Creation

            You Won't Remember Dying

              In 1971, Bulbous Creation poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. The band wouldn't stay together long enough to save up for a custom pressing on Rock. Singer/guitarist Paul Parkinson was deeply individualistic, and left to perform his songs as he thought they should be, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Drummer Horstmann followed suit. Jim "Bugs" Wine and guitarist Alan Lewis soldiered on, shortening their name to the more sensible Creation and adding vocalist Wayne Austin, dynamic drummer Tommy Ward, and guitarist Roger Sewell. The Bulbous Creation LP was nearly doomed to oblivion, but for the efforts of Rich Haupt, who issued an unauthorized eight song LP in 1995 on his Rockadelic imprint. Lewis died in 1998 of esophageal cancer. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, with piece of mind that someone, somewhere, was listening.

              The Rebel

              K Rot

                Second Monofonus release from Ben Wallers. This LP was recorded in March 2014. We flew him over to Austin to play a couple shows during SXSW and while he was here he recorded this LP. It’s quite a bit more straight forward than some of his more recent works.

                FORMAT INFORMATION

                LP Info: Comes with a download card.

                Spray Paint

                Clean Blood, Regular Acid

                  Third LP from this Austin bad vibe art punk band. “brimming with oddly tuned guitars and shouted vocals, but there’s a sweetness to balance out the sour flavors.” – Stereogum.

                  “noise-inflected yet melodic post-punk” – Noisey.

                  “…the trio’s frantic rants glisten with sweat generated by decades of post-punk workouts. That sweat also pushes them beyond mimicry. The exhilarating execution of their taut-yet-rubbery songs puts Spray Paint’s music squarely in the present tense.” – Pitchfork.

                  John Zorn

                  The Testament Of Solomon

                    For their fourth release, Zorn’s most intimate and spiritual 21st century ensemble returns with a melodic and open book of music reminiscent of the Masada music. Drawing inspiration from the Biblical Song of Solomon and originally intended as a companion piece to Zorn’s vocal masterpiece Shir Hashirim, the music is regal, sensual and romantic—a magical blend of classical, jazz and folk music. There has never been a group like the Gnostic Trio, and The Testament of Solomon is a unique CD in their catalog, filled with strong solos, telepathic interplay and a charming lyricism.

                    A Certain Ratio


                      Factory Benelux presents deluxe double vinyl and CD editions of Sextet, the ethereal yet rhythmic second album by Manchester postpunk funk group A Certain Ratio, originally released by Factory Records in January 1982.

                      Self-produced at Revolution Studio, Sextet saw the original Ratio quintet of Donald Johnson, Jeremy Kerr, Martin Moscrop, Simon Topping and Peter Terrell joined by co-vocalist Martha ‘Tili’ Tilson. Written and recorded following a transformative sojourn in New York in late 1980, the album reflects Latin, samba and even jazz influences (eg Skipscada; Day One), while still retaining Ratio’s signature brittle funk textures, heard in full effect on Lucinda, Gum and trancelike floor filler Knife Slits Water. .

                      “It all came together for us on Sextet really,” confirms bassist (and latterly vocalist) Jez Kerr. “We were all working together - more involved in the recording, and what went down onto tape. It's definitely got something that the other albums haven’t.”

                      Newly remastered, the bonus tracks on both the CD and vinyl formats include non-album single Waterline as well as dub plate Abracadubra (released as Sir Horatio), and the band’s three song John Peel session from June 1981.

                      The double CD version also includes a further Peel session from November 1982, featuring two songs never before released on record: Piu Lento, and Who’s To Say. Also included on the CD are both extended 12” mixes of Knife Slits Water, together with an early demo version of percussive marathon Si Firmir O Grido.

                      Cover painting by Denis King. Design by Ben Kelly.

                      Kiasmos (Ólafur Arnalds And Janus Rasmussen)


                        Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

                        After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

                        By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

                        “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

                        “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

                        Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

                        Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

                        Art Of Tones / Thatmanmonkz

                        So Worried / Got To Get To

                        Thatmanmonkz is certainly enjoying a fine run of form! Heavy duty releases for Delusions Of Grandeur & Kolour Ltd, alongside a steadily building and essential catalogue on his own Shadleaf Music label.

                        For their fifth outing the label has opted for a split single, with French house royalty Ludovic Llorca AKA Art Of Tones handling A-side duties. 'So Worried' marries a spoken word vocal with an irrsesistible clipped organ led and bumpin' House workout that sounds a lot like fellow Frenchman St Germain did way back when.

                        Monkz handles the flip with the kind of rough and ready sample-house jam the label has championed 'Got To Get To' strings together a handful of live instrumentation and melodies in classic collage style, while the dub strips down and houses up the ingredients for a clonked out finale

                        Back in stock Cover of More Spell On You / I Love You More by Eddie Johns / George Duke.

                        Eddie Johns / George Duke

                        More Spell On You / I Love You More

                        Two originals sampled by Daft Punk back to back on 45. Eddie Johns' percussive Latino disco-funk anthem "More Spell On You" provided the inspiration for "One More Time", while "Digital Love" borrowed from the soft-pop boogie of George Duke's "I Love You More". Essential party-starting classics for your 45s box.

                        Red Laser Records drop four tracks from Mancunian fucked up disco band Silverclub.

                        Thick analogue percussive vibrancy has a scrap with a sophisticated discoid lyricism resulting in shaky legs, adrenaline overdosed heightened senses and a fuck yeah fist in the air for every track on this ep.

                        The EP starts of with Back To the Start, a sampled piano fuelled beauty that weaves you through another disco dream world. It brews and bubbles subtly enough to capture the imagination and transport you to a thoughtful sound pallet. Music that paints pictures as you listen only for you to awake and realise your foot is tapping like Keith Moon on a kick drum. Beautiful work.
                        In remix mode Ste Spandex gets busy jamming up his tape machine in the studio and crunching out an absolute warehouse banger with this massive remix. A totally spiritual hardware shower to assist you in ridding you of your tiredness as dawn breaks outside the club.Gravity is a perfectly crafted dope wave disco from the Manchester 5 piece that's built to suit any kind of dance floor. The production is perfect. Every instrument is crystal clear and spreads lush and wide like a junkie with a needle in his arm . The dark chugging vocals build and soar in total harmony with the bubbling disco not disco soundscape. A total masterpiece.

                        Trouble has more percussive and acidic synth disco feel with a great lo-fi intro then the beautiful vocal bursts through to balance the sharp with silky soft perfectly. The track is choc-full of soulful boogie licks and sprinkles of pop sensibility. By the 3 minute mark I'm jumping about the house in my underpants like some high school twat from an 80's John Hughes film. Mega jam 

                        The III Rivers juggernaut sets forth once again, release number 4 "The Charivari EP", putting Voiceless in the cockpit and leading the charge.

                        "Second Nature" sets a dark, sultry and ominous tone as Voiceless deploys a plethora of sounds and moods that resonate with all the tense drama of the label's affiliated club night, Bohemian Grove.
                        Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on.

                        Always keeping a foot in the sonic warfare division, we get three locked grooves loaded and ready for battle; funky, electrified technoid wobblers that should fight off most opposition with ease.

                        Flip the disc and "Opt-out" opens with a controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos; percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend; guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines.

                        Final track "Charivari" really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session.

                        One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

                        It's late, too late. Still you can't help hitting redial. Three rings... four. Should you hang up? "The Call"... We all know what it means. Will you answer?

                        After making us wait two years before delivering Parkwest number 3, label head Mark Seven keeps 'em coming in quick succession with this thumping ode to booty calls. We've all been there and done that, but it's never sounded this good before. On the A-side, the original mix of "The Call" is an overproof shot of legit house music, packing muscular percussion and a rubbery bassline. Rather than those usual proto house flavours we've come to expect, Mark delivers a devasting early nineties sound backed by a techy sequence and some hushed erotic vocals. This is audio viagra for the flatlining dancefloor. The "(3AM) Mix" on the flip gets nasty in a different way, pinging the sleazy vocal samples through all the outboard fx for a chemically enhanced session. This one can go for hours! 

                        Eddie C

                        Farmer God / The Touch

                        Heeeeere's Eddie! The Canadian edit maestro swings his leg over his steel horse for another foray into the swinging saloon on the wrong side of town. After the recent split release with Noodleman, Eddie cuts the wagon loose and rides out alone again with another extra fine duo of dubbed out edits. "Farmer God" sees a high plains drifter out of his gourd on powerful peyote, strumming away and riding into the sunset as the steady groove rolls on, topped by exotic guitar solos and smooth woodwind. Sultry and breezy, this little number's gonna tease and please Balearic folks from the dustbowl to the rice paddies.On the flip "The Touch" gives a taste of the classic Eddie C style as a beautiful mid-tempo jam is expertly extended, with only the juiciest parts added to the blender. The producer weaves lyrical guitar, funky piano and a strolling bassline around a trademark mid tempo rhythm, taking us straight to the floor.

                        Ernest Ranglin

                        Mr. Ernie Ranglin With Soul

                          A very rare Rocksteady album by the Jamaican guitar virtuoso, Ernest Ranglin. Unlike all the other musicians in those days, Ranglin was not allowed to go between studios to record and release music as he wished because he was an exclusive employee of the Federal records. Thus it's really hard to find a Rocksteady record with his name on it. Although whenever he found a spare time, he would go to Duke Reid's studio and play the guitar and bass as a sideman, often playing sessions with Lynn Taitt. According to Ranglin himself, "I felt really comfortable being at Duke Reid's studio", though sadly there have not been a single release of his solo guitar tune which was recorded there.

                          So here comes the album, it's the rare Rocksteady instrumentals by the man himself. Some of the main features would be "Summertime", "Flamingo" and "Hold Me Tight", the wickedest selection of the moist Rocksteady that will certainly catch your heart. Other than that, there are the uptempo "Sling Shot", the relatively arranged towards pop direction "Don't Sleep In the Subway" and some ballads to represent the Federal's widely ranged style that won't go off after a long time, exactly how this one of the biggest leading labels in Jamaica had thought of. This may not make Rude Boys in downtown growl, although it will clearly last eternally as Ranglin's 60s best album to the future generations.

                          Ernest Ranglin

                          Mod Mod Ranglin

                            'Mod Mod Ranglin' is a fusion of ska and Caribbean instrumentals by Ernest Ranglin recorded in 1966 while ska was changing towards Rocksteady. Although Ernest Ranglin recorded 8 solo albums at Federal Records, 'Mod Mod Ranglin' was the only album with Ska instrumentals, interestingly. The album consists of classic ska, mento and Carribean songs of all times. From the start to the end, Ernie's guitar playing flutters like Caribbean breeze. The instrumental song entitled 'Felicia' is a perfect number for all Ska lovers.

                            Gladstone Anderson, Lynn Taitt & The Jets

                            Glad Sounds

                              Trinidad born legendary guitarist, Lynn Taitt, who brought the first wave of Rocksteady to the Island, and Gladdy Anderson who is well known as a Skatalites' pianist, got together to record this Rocksteady instrumental album 'Glad Sounds' at Federal Studio in 1968. Released from the Merritone label, which was managed under Federal, the album depicts the heyday and best sound of Rocksteady as well as the label itself. This album is for the first time reissued by Dub Store Records. The album tracks consist mainly of cover versions of popular tracks, which were produced by Coxsone Dodd, Bunny Lee and Sonia Pottinger. Lynn Taitt and Gladstone Anderson added gentle flavors to their versions by their distinctive instrumental plays. Federal's recording facility made possible to maintain this sound quality. This is certainly another classic album to add to your collection!

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