MAGIC MIX

STAFF PICKS

VINYL REISSUES

Filling in the gaps in your record collection? Look no further with these staff approved vinyl reissues.

Tim Burgess

Oh No I Love You - Silver Vinyl Edition

    ‘Oh No I Love You’ originally released in 2012 gets a Limited edition repress of 500 copies on SILVER LP, in support of Love Record Stores event– Supporting Indie retail. This additional limited colour run is due to large demand for the initial Clear Green repress which has sold out.

    “The root of this album goes right back to a Kurt Wagner show in Manchester. It was the quietest yet the most powerful live performance I had ever seen and afterwards I carried Kurt's guitar to the car for him. I took the chance to ask him if he would ever consider writing a song with me. "Sure Tim, you write the music and I'll write the words". That one song turned into an album and almost ten year's after we first talked about it, the album is ready and it's called Oh No I Love You
    Kurt gave me the number of producer Mark Nevers in Nashville. He said Mark's studio, The Beech House was the perfect place to record. We got together members of Lambchop, Clem Snide, My Morning Jacket. We used strings, brass and a gospel choir. Chris Scruggs, grandson of the legendary Earl Scruggs came and played on a couple of songs and lo fi legend R Stevie Moore stopped by and we recorded a track in one take. Further contributions came from Factory Floor’s Gabe Gurnsey and Nik Colk Void and string arrangements from head High Llama Sean O'Hagan”. - Tim Burgess

    Tim Burgess is the official ambassador for Love Record Stores event on 20th June 2020


    FORMAT INFORMATION

    Coloured LP Info: Silver vinyl edition, 500 copies only.

    The Shaggs

    Shaggs' Own Thing

      When The Shaggs’ Philosophy Of The World came out in 1969, some people couldn’t or wouldn’t understand it. But many musicians, including Frank Zappa and Kurt Cobain, cited the Shaggs as a major influence. Heck, Zappa exclaimed they were “better than the Beatles!” NRBQ’s Terry Adams and Keith Spring were such fans, and after reissuing Philosophy in 1980 on their own Red Rooster label, Adams began work on a collection of recordings the Wiggin sisters had made in the years following their debut. The result was Shaggs’ Own Thing – a beguiling follow-up that reveals a more developed and mature sound while still retaining all of their homespun uniqueness.

      “The songs were better and they were recorded better, so it naturally made a better album,” Dot Wiggin said shortly after the original release of Shaggs’ Own Thing in 1982. It’s a “natural, organic extension” of the utterly original sound that The Shaggs had created, intentionally or not, with Philosophy Of The World, as John DeAngelis writes in the new liner notes. While Dot Wiggins originals like “You’re Somethin’ Special To Me” and “My Cutie,” and covers of classic songs like “Yesterday Once More” reveal a maturity not displayed on the debut, the two versions of “Shaggs’ Own Thing” and the revisiting of “My Pal Foot Foot” show that The Shaggs lost none of their pure and honest charm over the years.

      Remastered from the original tapes with liner notes by John DeAngelis, this reissue includes the bonus track “Love at First Sight,” first issued on the 1988 Red Rooster/Rounder Shaggs CD and appears on LP for the first time, plus three additional tracks on CD: “Sweet Maria” and “The Missouri Waltz,” first released by Light In The Attic as a limited-edition Record Store Day 45 in 2016, and the previously unreleased cover of the classic surf instrumental “Wipe Out.”


      FORMAT INFORMATION

      Ltd LP Info: LP bonus track “Love At First Sight” first time on vinyl.

      CD Info: CD includes 4 bonus tracks, 3 of which appear on the format for the first time.

      Lou Barlow

      Emoh (Reissue)

        It wouldn’t be accurate to call Emoh my first solo release. I released a cassette in 1987 called Weed Forestin’ under the name Sentridoh. My friend Eric Gaffney played percussion on a few songs, and it was the beginning of the band we would form. We released a cassette, The Freed Man, under the name Sebadoh shortly after that, and when we were picked up by Homestead Records in 1989, I re-released Weed Forestin’ as Sebadoh. Later on (1994 or so), I started another band, the Folk Implosion, with fellow lo-fi voyager John Davis. By 2000, though, all of that was over. Sebadoh was on hiatus after the failure of our The Sebadoh LP, and John Davis quit the Folk Implosion. It was a low point; I wasn’t writing as much, and in the aftermath of a tumultuous move to LA in 1998, I struggled for the next few years. By 2003, I was in a better place and I decided my next step might be a proper solo LP.

        I started paying for trips to various studios, in particular to Mark Nevers’ Beech House in Nashville. He had recorded Will Oldham’s tremendous Master and Everyone LP, and I thought it would be a good place to act like a real singer-songwriter. I brought in my friend Imaad Wasif to play guitar; he had been key in encouraging me to step out on my own. Nevers suggested I reach out to Mac at Merge. There was a point in 1991 or so that Sebadoh almost signed to Merge, so it seemed to be a logical step. Mac and co. said yes, and it further inspired me to finish the LP. I continued to record in various studios in LA and western Massachusetts. I tinkered extensively with the results at home, and by 2004, I had an LP that was a combination of the intimate “lo-fi” of my early work and the full fidelity I was meant to step into as a maturing artist.

        Though Emoh was an overwhelmingly positive step forward for me, listening now, I realize the songs have a lot of pain in them. They clearly track the slow dissolution of my first marriage, the fatal break of several partnerships, and my struggle to acclimate to living in LA. Emoh is primarily an acoustic LP with live performances at its core, and that was a personal achievement for me. I’m still very pleased with it. Though my follow-up, Goodnight Unknown, went back inward and is, lyrically, more evasive, with Emoh I realigned myself with my craft. I had embraced songwriting in a high-profile way and made myself solely responsible for the results. The fact that it coincided with becoming a father for the first time makes it a time marker and game changer that has been invaluable to me, serving to keep me focused and on track personally and creatively ever since.

        Thanks to Merge for making this reissue happen. Though there was a short run of LPs through Domino UK at the time, vinyl was essentially dead in 2005, so this is the first time Emoh has been available domestically in that format. Lou Barlow, March 2020.

        FORMAT INFORMATION

        2xDeluxe LP Info: 2LP is black vinyl in matte gatefold jacket + printed dust sleeves + download.

        Belle And Sebastian

        Push Barman To Open Old Wounds

          The intriguingly titled ‘Push Barman To Open Old Wounds’ is a chronological double CD / triple LP collection of all 25 songs from Belle and Sebastian’s Jeepster EP and single releases compiled onto one album. 

          On first release in 2005 ‘Push Barman To Open Old Wounds’ appeared in two formats, a hardback casebound 2CD with deluxe booklet and a 3LP vinyl pressing in a beautiful triple gatefold sleeve. Now, for the first time we have produced a coloured vinyl edition of the 3LP and are making this available exclusively to independent retailers along with the deluxe CD. 

          The songs included on the album date back to the early days of the band’s career in 1997 when they released 3 four track EPs (‘Dog On Wheels’, ‘Lazy Line Painter Jane’ and ‘3..6..9 Seconds of Light’) to bridge the time between the release of their albums ‘If You’re Feeling Sinister’ (1996) and ‘The Boy With The Arab Strap’ (1998). Also included is the band’s most successful single ‘Legal Man’ which reached number 15 in the UK chart in May 2000. The set concludes with the band’s last Jeepster single release ‘I’m Waking Up To Us’ providing an attractive access point to the band’s catalogue for new fans who may have only heard their later work.

          None of these songs feature on Belle & Sebastian’s albums and as individual singles they are increasingly rare. 

          The album is named for a piece of graffiti seen in some toilets in a bar in Glasgow. 

          FORMAT INFORMATION

          3xColoured LP Info: Clear vinyl edition.

          2xLtd CD Info: The limited double CD comes in a hardback casebound CD sleeve with a deluxe booklet.

          Frederiksberg Records is proud to announce the first ever vinyl / digital reissue of Admas’ “Sons of Ethiopia”, the privately pressed album from 1984. Fully licensed from Admas, released with their support, the album includes restored sound and art. The extensively researched booklet features unseen photographs and interviews with the band.

          Sons of Ethiopia is a mostly instrumental album, rich with global influences. It is one of the few recordings to be produced outside Ethiopia in the early 1980s. It is a key document of the Washington DC exile scene. The core members of Admas – Tewodros ‘Teddy’ Aklilu, Henock Temesgen, and Abegasu Shiota – had previously played in a group called Gasha, one of the few local Ethiopian bands. Admas was born from Gasha, as an outlet for their more experimental instincts.

          Emerging from the community of Ethiopian exiles who fled the brutality of the Derg – the military dictatorship that had deposed Haile Selassie – the album was the sound of a new generation. The members of Admas were not musicians from the ‘golden age’: they were children of the terror of the Derg time. Their music formed during an era of state-sponsored neighbourhood bands and a propaganda-tinged traditional music scene, where the weekends were sound-tracked by the remaining hotel groups of a bygone Imperial world.

          Admas took Ethiopian popular music into wholly new territory. Having established a residency at the Red Sea restaurant in the early 1980s, the Admas players were steeped in the polyglot musical culture of the American capital. The diverse sonic influences of the city filter into the music, making the album a radically modern work of Ethiopian fusion.Mulatu, Girma Beyene and their peers in 1960s Addis Ababa had created an Ethiopian pop sound by using rhythms from Latin music, soul and jazz. Admas threw their net wider still, adding highlife, electro, go-go, samba, and roots reggae to the mix.

          Sons of Ethiopia is the fresh sound of youth, freedom and imagination, which the band made for themselves and by themselves, owning every part of the process. But it is also a music of exile. Admas performed week in, week out, for crowds of fellow Ethiopians, many of whom had lost family and friends to the Derg. Sons of Ethiopia channels this loss, longing and hope. It is at once imbued with the melancholy and nostalgia so typical of Ethiopian song. And at the same time, is a joyful work of synthesis and experiment with deep roots.

          Always on hand to supply something strange and beautiful, Stroom's latest release is a retrospective of under appreciated Belgian art-rock outsiders Adult Fantasies, comprised of the best moments of the three albums they released between '88 and '94. Exploring the experimental fringes of avant garde, art rock, EBM and stark synthwave, Dirk Seghers and Gerrit Valckenaers combine the electronic and acoustic perfectly, entering the Cocteau sphere, then veering away into darker, heavier territories over the twelve tracks found here.

          Sven Wunder

          Wabi Sabi

            Second release on Piano Piano from Sven Wunder.
            Appeals to both psych and prog listeners, folk or jazz aficionados and as well the gourmet hip hop connoisseurs.

            By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on European works. The result is a surface that creates an illusion by sound. The infusion of Min’yō with jazz rock, this hazy scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and space.

            The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer, Wurlitzer electric piano and electric bass.

            This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation to generate new ways of looking at the world, here and now.

            This record is produced with financial support from the Swedish Arts Council.


            Following on from last years' 'Autres Directions' under his own name, and a collaboration with Jim Jupp of Belbury Poly with the celeb matchup of the year in 'The Belbury Circle', Jon Brooks has returned to his Advisory Circle moniker for 'Ways Of Seeing'. 

            After a brief introduction (like we wouldn't know exactly who were listening to within ten seconds of kick-off), we get slowly arpeggiated saw waves and delayed blipping sinewaves dreamily meandering over the insistent percussive backdrop. Massive snare drums and swelling FM sweeps bulk out the forward-moving Italo throb. 

            'The April Interval' and it's later counterpart, the stunning 'Skyways' are beautifully redolent of the 80's library music Brooks (and the rest of us) clearly have a soft-spot for, they are stunning, saturated, key led melodic journeys, brimming with spine-tingling whimsy, perfectly measured production and that impeccable ear for progressions we've come to expect. 

            'Flight Capture' is possibly the greatest example of synth-led melody and textural intensity i've heard for a long time, combining the glimmering arpeggiated FM stabs and woozy bass throbs perfectly before slowly building into a shimmering Balearic tine-heavy refrain. 

            We get spoken-word musings in 'A Mechanical Eye', (though I have less in common with this man than the monologist from the last album, he also being a solid tea enthusiast), before the kosmische shifting arps and swirling pads of 'Airborne Seeds'. 

            A mindblowing tour-de-force once again from The Advisory Circle, and one that will be on my record player for some time to come. Stunningly immersive, beautifully produced and stunningly packaged. Album of the year material, for sure. 





            FORMAT INFORMATION

            Coloured LP Info: Limited gold vinyl repress!

            Paul McCartney

            Flaming Pie - Half-Speed Master Edition

              Flaming Pie is the tenth solo studio album by Paul McCartney, first released in 1997.

              Having been heavily involved in The Beatles’ Anthology project, Paul had time to reflect on the standards he and his bandmates had set during their career, and applied these to what would become his first album in four years. Made in a much more spontaneous style, with songs recorded here and there, mostly on holiday, it’s an album that luxuriates in its own sense of fun.

              Featuring producers George Martin and Jeff Lynne, as well as musicians including Steve Miller, Ringo Starr and his own son, James McCartney, Flaming Pie would go on to become one of Paul’s most acclaimed albums. Sales were brisk, with the album only kept from the Number 1 slot on both sides of the Atlantic by the cultural phenomenon that was the Spice Girls’ Spice album.

              FORMAT INFORMATION

              3xLtd LP Info: Half-speed master of the remastered main album tracks cut over 2LPs for the first time.
              Plus 1LP of the Demos and Home Recordings.

              2xLP Info: Half-speed master of the remastered main album tracks cut over 2LPs for the first time.

              Misfits

              Walk Among Us - 2020 Vinyl Reissue

                The legacy of Misfits is undeniable, having transcended punk into popular culture. 'Walk Among Us' is the important debut album which set the stage for a generation of artists. Highly collectible and sought-after, the official Earache reissue is licensed from Warner Music and the audio is taken from the original master tapes – unlike previous releases.

                Upon its original release in 1982, Pitchfork rated the album 9.4 out of 10 and said: “Insidiously catchy, the album is a work of feverish imagination, but it’s in no way escapist. Danzig sings of butchering people and keeping the body parts even as the names Ted Bundy and John Watne Gacy sent chills down the spine of a nation. Neither glorifying or condemning, Misfits simply distilled the anxieties of the early 80s into a putrid elixir.”

                Back in stock Cover of Dry - Remastered Vinyl Edition by PJ Harvey.

                PJ Harvey

                Dry - Remastered Vinyl Edition

                  Dry is the debut studio album by English singer-songwriter and musician PJ Harvey, originally released on Too Pure Records on 30 March 1992. The album was recorded at The Icehouse, a local studio in Yeovil. Critically lauded both on release and retrospectively, the album contains the singles “Dress’ and ‘Sheela-Na-Gig’

                  Back in print for the first time in almost 20 years, Beggars Archive on behalf of Too Pure Records is pleased to announce the re-issue of Dry on vinyl. The album was remastered by the original producer “Head” and has been replicated to the original version as much as possible. 

                  Pitchfork – “On her debut, Polly Jean Harvey matched Patti Smith’s incandescence with Bessie Smith’s lasciviousness, outplayed everyone on the British indie circuit, and became an instant star - 9.2”

                  11 track collection of demos of all songs from the debut studio album Dry by PJ Harvey, available for the first time since 1992, and previously unreleased as a standalone album.

                  Features brand new artwork with previously unseen photos by Maria Mochnacz.

                  FORMAT INFORMATION

                  LP Info: 1LP, 180gsm black vinyl.
                  Full colour outer sleeve, with printed inner sleeves.
                  Artwork includes 3 previously unreleased photos.
                  Download card.

                  CD Info: Mini-gatefold style outer sleeve, with printed inner sleeve.
                  Artwork includes 3 previously unreleased photos.

                  Marvin Gaye

                  Every Great Motown Hit - Vinyl Reissue

                    Is there a better voice in soul? While you desperately struggle to think of someone, I'll wax lyrical about my main man Marvin. Not only did his incredible vocals, charisma (sex appeal) and all round dreaminess help Motown become the soul juggernaut we know and love (though perhaps despite ourselves), he used his position and talent to pursue peace, harmony, love and equality to all people. While also loving drugs and hating taxes. So here we get those 60's soul gems, "What's Going On" masterpieces and more funky moments. A great place to start for the casual fan.


                    McCarthy

                    The Enraged Will Inherit The Earth

                      Originally released in 1989. The Enraged Will Inherit the Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.

                      The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

                      Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller. 

                      FORMAT INFORMATION

                      2xColoured LP Info: This limited edition set contains the original LP plus a 10 track bonus LP and a bonus 7” with 2 previously unreleased tracks.
                      Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston.

                      Thurston Moore

                      Trees Outside The Academy (Remastered)

                      Originally released in 2007 This was Thurston's first solo outing since 1995's Psychic Hearts.

                      From original 2007 Press release: “Thurston recorded primarily on acoustic guitar and bass, laying down the core of the tunes with drummer compatriot Sonic Youth's Steve Shelly and violinist Samara Lubelski, a noted player from MV/EE and The Golden Road, Hall of Fame and other awesome gatherings as well as solo artiste. Thurston grabbed John Agnello to record and mix the sucker after having a helluva good time with the bro from working on Sonic Youth's 2006 killer Rather Ripped. They decided to work in Dinosaur Jr.'s J Mascis' Bisquiteen studio (the top floor in J's Amherst house actually) where Dino did their Beyond album. This worked out very nicely as it allowed Thurston to yell down the stairs every time he needed a shredding guitar solo and J would trundle up, plug in and BURN.

                      Other guests on "trees outside..." are Christina Carter, she of Charalambides, and she of the most beatific, beautific voice on land, sea and air. One track called Honest James has Thurston and Christina singing duet against a single acoustic guitar and it is a naked groove. The otherworldly Canadian musician Andrew Macgregor aka "Gown" plays some spectacularly understated and incredible guitar and Sunburned Hand of The Man's John Moloney takes over the drum stool to absolutely flail on the pit snarling Wonderful Witches. And then there's the 20 seconds or so of primal noise wave courtesy of American noise underground genius Leslie Keffer on Off Work. Most of the tunes are lyric driven but there are a couple of majestic instrumentals like Trees Outside The Academy, which brings the album to a musical and breathless close. There's also some weird cassette tape that Thurston found at his mom's of him at 13 years old in the early 70s making some kind of sound-theatre.” 

                      FORMAT INFORMATION

                      Coloured LP Info: Cream & Army Green Vinyl.

                      Fat Freddy’s Drop

                      Special Edition Part 1 - Deluxe Edition

                        New Zealand juggernaut Fat Freddy’s Drop return with a new deluxe edition of their recent ‘Special Edition Part 1’ album.

                        Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and ‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.

                        Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live shows.

                        ‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2.

                        The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in 2005.

                        FORMAT INFORMATION

                        2xDeluxe LP Info: This version was previously exclusive to New Zealand, and comes on black vinyl, with a die-cut gatefold sleeve, with full colour printed inner sleeves, and spot UV on front and back covers and spine.

                        Guided By Voices

                        Vampire On Titus - Coloured Vinyl Repress

                          We are pleased to announce a new vinyl pressing of the classic Guided By Voices album, Vampire on Titus. Although there were several different pressings in the 1990s, this is the first since 1998.

                          This edition features a new master cut at Golden, is packaged in a sturdy tip-on jacket, and includes Bob's original insert, now enlarged to a more readable size. A limited quantity will be available on opaque yellow vinyl.

                          FORMAT INFORMATION

                          Coloured LP Info: Opaque yellow coloured vinyl.

                          Joy Division

                          Closer: 40th Anniversary Edition

                            Limited edition 40th anniversary version of the band’s second and final studio album, pressed on 180g crystal clear vinyl.

                            Originally released in July 1980 on Factory Records, the album reached number 6 in the UK Charts. In the same year, the album was voted number 1 in NME’s 1980 Albums of the Year poll.

                            Closer was recorded in March 1980 at Britannia Row Studios in Islington, London. It was produced by the highly praised Martin Hannett whose distinctive production style utilised unorthodox sound recording and technology.

                            FORMAT INFORMATION

                            Coloured LP Info: 180g 12” 1LP on Crystal Clear Vinyl.

                            Joy Division

                            Transmission

                              Joy Division’s debut single, FAC 13, Transmission kicked off the group’s trend for releasing singles that didn’t appear on their albums. This 40th anniversary 12” features remastered audio on 180g vinyl, and the original artwork on heavyweight board with an embossed sleeve.

                              Joy Division

                              Love Will Tear Us Apart

                                Joy Division’s most enduring classic, Love Will Tear Us Apart, was released in June 1980 not long after Ian Curtis’ untimely passing; and become the group’s highest charting single. Named NME Single of the Year 1980, this 40th anniversary 12” has been remastered and pressed on 180g vinyl and features Peter Saville’s iconic original artwork.

                                Joy Division

                                Atmosphere

                                  The second of the group’s three singles, Atmosphere, was originally released as “Licht und Blindheit” in France only with a different B-side, before being released on Factory in May 1980 as FACUS 2. This 40th anniversary 12” single has been remastered and pressed on 180g vinyl and features the original artwork.

                                  Slowdive

                                  Just For A Day - Coloured Vinyl Reissue

                                    The English shoegaze band Slowdive formed in 1989 and consisted of Nick Chaplin (bass), Rachel Goswell (vocals, guitar), Christian Savill (guitar) and the band’s primary songwriter Neil Halstead (vocals, guitar). The production on Slowdive’s debut commenced shortly after Halstead convinced Alan McGee, head of Creation Records, the band had enough songs written for a full-length album. Slowdive actually did not. The group hurriedly began writing songs in the studio, experimenting with sounds and cannabis during the process. This eventually lead to their debut album Just for a Day, released in 1991.

                                    Available as a limited edition of 4000 individually numbered copies on flaming coloured vinyl.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited edition of 4000 individually numbered copies on flaming coloured vinyl.

                                    Tin Machine

                                    Tin Machine II

                                      Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

                                      Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

                                      As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.

                                      The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

                                      Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 10000 individually numbered copies on silver coloured vinyl.

                                      The new decade dawns with a message of love and hope from Balearic envoy Phil Mison and his fourth LP under the Cantoma moniker. Joined by old friends and new acquaintances, Señor Misono draws on a lifetime of record collecting, selection and songwriting to pack 'Into Daylight' with the essence of the Balearic movement, from the Café del Mar and beyond.

                                      Frequent flyer Quinn Lamont Luke touches down for the tender embrace of 'Back Into Daylight', lending his honeyed vocals to Phil's balmy pads and subtle guitar in a reminder to let go of the past and look towards a better future. Blink-and-you missed it 2018 single 'Verbana' follows on, serving quicksilver guitar between its polyrhythmic groove and breezy flute. Spanish vocals dub out into the distance, carrying the essence of the White Isle to wherever we may be; it is one world after all. In fact, 'Kasoto', appearing here in its original form for the first time, was committed to tape in Gambia with help from Advoms Skhaan. The twinkling keys and Jojo Mendy's spiritual vocals ride the low slung groove perfectly, leading us to a promised land of triumphant horns and ecstatic kora.

                                      'Space For Us' sees the return of previous collaborator Suad Khalifa, whose soulful vocals join glassy keys, snaking bass and elegant organ for a soothing Balearic lullaby. It's a forgotten daydream of Antenna playing 'Riders On The Storm' brought to life with a carefree perfection. 'A Night At Après Midi' takes us to the midpoint with velveteen textures and the bright brass of 70s soul, balanced to perfection by airy flute and a fiddle carried over on the breeze from the Gypsy Camp.

                                      The second half opens with the decade's first great love song, 'Road Home'. Naive melodies and gentle woodblocks fuse Latin rhythms and Americana, allowing the space for David Philips to muse on the importance of the moment and parting's sweet sorrow. 'Solando' sees Phil set the mirror-ball to half time with a serious slow disco groove, forged out of Doobie Brothers rhythm guitar and shuffling percussion. Luna Astri's seductive bilingual vocals pour on the charm, melting our collective heart before Mr Mison caresses every drop of emotion from those flamenco flourishes.

                                      From there we ride Route 1 down the coast on 'Another Place', keeping on eye on the blue Pacific as the sincere AOR melts into the sophisticated synth pop of 'Closer', a nocturnal romance driven by slinking clarinet, a shimmering arpeggio and another wonderful vocal contribution from Luna Astri. Finally, Phil plays us out with the loved up lilt of essential sundowner 'The Mountain', where Spanish sketches of a subtle body bring back those hazy afternoons in San Antonio.

                                      FORMAT INFORMATION

                                      2xLP 2 Info: Repress - double vinyl but non-gatefold sleeve.
                                      Sleeve is also a slightly different colour.

                                      Art Blakey & The Jazz Messengers

                                      Just Coolin'

                                        Blue Note Records release Just Coolin’, a never-before-released studio album by Art Blakey & The Jazz Messengers that was recorded on March 8, 1959 in Rudy Van Gelder's living room studio in Hackensack, New Jersey. The session featured a short-lived line-up of The Jazz Messengers with drummer Art Blakey, trumpeter Lee Morgan, tenor saxophonist Hank Mobley, pianist Bobby Timmons, and bassist Jymie Merritt. 

                                        The session for Just Coolin’ finds The Jazz Messengers’ saxophone chair in transition. The band had last recorded in October 1958 when they cemented their place in jazz history with the classic album Moanin’ featuring Benny Golson on tenor saxophone. By July 1959, Blakey had recruited tenor saxophonist Wayne Shorter who would remain a fixture of the band until 1964.

                                        The interim saw the return of Mobley, who was a charter member of The Jazz Messengers when the band first formed in 1954 and appeared on their debut recording The Jazz Messengers At The Café Bohemia in 1955. Mobley also filled an important role as the band’s resident composer. In fact, three of the six tracks on Just Coolin’ were written by Mobley: “Hipsippy Blues,” “M&M,” and “Just Coolin’.”

                                        However, five weeks after the studio session Blue Note founder and producer Alfred Lion decided to record the band again at the legendary club Birdland in New York City on April 15, 1959, capturing an assured live recording that included four of the six titles that had been recorded in March. The Birdland sessions ended up superseding the studio date when Lion instead released the two-volume live album Art Blakey & The Jazz Messengers At The Jazz Corner Of The World later that year.

                                        “In 2020, it’s great to find more Morgan, Mobley and Timmons in their prime,” writes Bob Blumenthal in the liner notes for Just Coolin’. “The music had clearly settled in during the month that separated studio and live versions, but the fire of these six tracks has an appeal of its own.”

                                        Now, 61 years later jazz fans all over the world will have the chance to listen for themselves.

                                        FORMAT INFORMATION

                                        LP Info: An all-analog 180g vinyl pressing that was mastered by Kevin Gray.

                                        Archeo come through with another stunning relic dusted down from a forgotten corner of Italian music culture. Fulvio Maras, Alfredo Posillipo and Luca Proietti originally released Sfumature back in 1992, and it's quite the spectacle to behold. Minimal synths provide an underlay for the tense sustained pads and Maras' tumbling percussion on "Panico Iniziale", while nimble hand drums spiral around woozy brass and delicate chimes on "Trombe Di Alfredo". The mood gets seductively dreamy on "Amori" thanks in no small part to the double bass playing at its core. Highly accomplished, inquisitive and utterly satisfying music occupying its own unique space.

                                        Tadao Sawai & Kazue Sawai & Hozan Yamamoto & Sadanori Nakamu

                                        Jazz Rock

                                          They say you can’t judge a book by its cover, and going by ‘Jazz Rock’, nor a record by its title.

                                          Though entering into jazz territory and featuring some distorted guitar, ‘Jazz Rock’ is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min’y 333; music performed on the koto and shakuhachi.

                                          Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min’y 333; players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session.

                                          Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC’s. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

                                          Though certainly not an ambient record, ‘Jazz-Rock’ has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the ‘Jazz Rock’ album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

                                          Various Artists

                                          Slip-Disc - Dishoom's London Bombay Grooves - Repress

                                            From rocking Bombay to swinging London: what a terrific trip! in the 60s, young Indians and young Brits struck up an unlikely relationship that resulted in some truly amazing music.

                                            For this generation, culture was currency. hip young Indians rocked up in London. ‘Beat’ bands in Bombay belted out versions of the latest rock’n’roll hits. Indian musicians dreamt of making it big in the West, while British bands were eager to explore mystic, exotic India. Despite their very different upbringings, both Eastern and Western youth revelled in their opposing cultures. 'Slip-disc - Dishoom's London Bombay Grooves' is the sound of this cross-Continental youth revolution and a long-distance love affair.

                                            Includes Gems like Ananda Shankar's 'Jumpin Jack Flash', Bill Ravi Harris & The Prophets' 'Cissy Strutt' and BD Davis & The Red Orchidstra's 'Get Carter'.

                                            Nina Simone

                                            My Baby Just Cares For Me

                                              Limited edition 180gram premium vinyl pressing and 3 bonus tracks. Released in June 1958, this album (originally issued under the title Little Girl Blue on Bethlehem BCP-6028) was Nina Simone’s first studio recording ever.

                                              Made when she was 25-years old, the album was a huge success and led to a tremendous career that would yield over 80 studio sessions. It was originally issued on the Bethlehem label and features the singer/pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert “Tootie” Heath (one of the celebrated Heath brothers, along with saxophonist Jimmy Heath, and bassist Percy Heath).

                                              Many of the tracks from this LP would become true classics, among them her perennial versions of “My Baby Just Cares for Me” and “I Loves You, Porgy”. Simone’s piano is well featured throughout the LP, but “Central Park Blues” and “Good Bait” are the only purely instrumental tracks.

                                              Pure X

                                              Pleasure - Reissue

                                                Pleasure is the debut album from Austin underground luminaries Pure X, re-issued on 180 gram vinyl by Fire Talk. Building from promising 7" releases, ‘Pleasure’ continues the band’s affinity for burnt out soundscapes and intricate, understated guitar work that together weaves a moody tapestry of everlasting sunset.

                                                Spotlighted by major press, Pitchfork in particular commended the album as a ‘terrific-sounding record, built for headphones and high volume.’ A revelatory introduction to the band, ‘Pleasure’ pinpoints a signature sound that Pure X would continue to hone over the course of a longstanding career - a pristinely devastating soundtrack that feels pertinent to the end times of the current state of the world.

                                                FORMAT INFORMATION

                                                LP Info: 180 gram heavyweight vinyl.

                                                Pure X

                                                Crawling Up The Stairs - Reissue

                                                  Crawling Up The Stairs is the sophomore album from Austin underground luminaries Pure X, re-issued on 180 gram vinyl by Fire Talk.

                                                  The anticipated follow-up to debut ‘Pleasure,’ the new record places Nate Grace’s ragged vocals upfront in the mix with more clearcut, refined production choices, while still imbued with the jagged sexual tension and undercurrent of catastrophe that has won them fans across the world.

                                                  More accolades from the press followed, notably Pitchfork calling the record ‘sophisticated and self aware,’ lending a further upward trajectory to the band’s steadfast cult status. The duality of vocals from Grace and Jenkins for the first time evoke an even more enthralling immediacy to Pure X’s continued evolution of their nightmarish visions, a spellbinding combination that will find appeal in old fans and new listeners alike.

                                                  FORMAT INFORMATION

                                                  LP Info: 180 gram heavyweight vinyl.

                                                  The Charlatans

                                                  Between 10th & 11th (Expanded Edition)

                                                    Beggars Arkive is excited to announce the reissue of Between 10th and 11th, the second album by The Charlatans.

                                                    Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the oft-bootlegged live show from Chicago in 1991, known as Isolation 21.2.91, a holy grail amongst fans.

                                                    Between 10th and 11th was originally released in 1992 and feature the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”

                                                    “A certifiable classic” - PopMatters.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Double clear vinyl.

                                                    I Am Kloot

                                                    Gods And Monsters - Coloured Vinyl Edition

                                                      I Am Kloot released their third album Gods And Monsters in 2005. They chose once again to stay true to themselves and to their sound, delivering this perfectly crafted album, which reached #74 in the UK Album Charts. Formed from the ashes of The Mouth, I Am Kloot stood up and released some very successful releases.

                                                      Gods and Monsters is available as a limited edition of 1000 individually numbered copies on orange marbled vinyl. The package includes an insert.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: • 180 GRAM AUDIOPHILE VINYL.
                                                      • GATEFOLD SLEEVE.
                                                      • INSERT.
                                                      • LIMITED EDITION OF 1000.
                                                      • INDIVIDUALLY NUMBERED COPIES ON ORANGE MARBLED VINYL.

                                                      Reload (Mark Pritchard And Tom Middleton)

                                                      A Collection Of Short Stories - Coloured Vinyl Edition

                                                        Collection of Short Stories is an ambient electronic masterpiece produced by Mark Pritchard and Tom Middleton (collectively also known as Global Communication). This first full-length by the duo, released as Reload, charted the dark side of the ambient-techno, long before it became popular. This incredibly atmospheric early 90s collection is one of the best from the genre and a must have for every electronic music fan.

                                                        Available as a limited edition of 2000 individually numbered copies on translucent yellow vinyl. The package includes 24-page booklet with introduction and short stories written by Dominic Fripp.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: 2000 individually numbered copies on translucent yellow vinyl.

                                                        Albert Ayler

                                                        New Grass

                                                          Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release.

                                                          The album finds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

                                                          New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to influence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith.

                                                          Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

                                                          Fairuz

                                                          Maarifti Feek

                                                            Fairuz's ultra rare 1987 classic composed and arranged by ziad rahbani and featuring the cult arabic groove "ouverture 83" is reissued for the first time on vinyl remastered from the original tapes.

                                                            Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene.

                                                            Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell.

                                                            In 2018, Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
                                                            During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse (the world's oldest surviving sea-washed lighthouse).
                                                            Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano.

                                                            From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, "(Welter) In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" (a dweller by the sea), is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast.

                                                            Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk.

                                                            STAFF COMMENTS

                                                            Barry says: Athens Of The North have always been a big hit in the shop, with their jazzy hazy folk offerings proving particularly popular (Hampshire & Foat come instantly to mind), but nothing has quite hit home like the mind-blowing debut from ‘Andrew Wasylyk’ (aka Dundee’s Andrew Mitchell). From the outset, the paddling ambience and perfectly weighted piano of “Through The Field Beyond The Trees Lies The Ocean” sets the scene perfectly for the lysergic journey that is ‘The Paralian’. While “Greendrive #2” slowly ambles from plucked harp (I mean really, it could be anything, the last time I spoke to him he was off picking up a vibraphone because it’s yet another sound to shape into the electro-acoustic narrative he so perfectly forms) into a meandering percussive stroll through the Scottish countryside, it’s follower “Journey To Inchcape” that forms the peak of this narrative microclimate. Slowly swelling horns and reverbed CR-78 work away beneath the melancholic woodwind and shimmering guitar, hinting at sorrow, but working through it with a combination of otherworldly, soothing ambience and momentous stoicism. Later, we explore the same story arcs, but with each stroke rendering a broader and more colourful palette. The slightly tense “Flight Of The Cormorant” for instance giving way to the anxiolytic majesty of “Mariner’s Hymn” by way of the brittle “Westway Nocturne”, dispelling all tension and making every moment of dispirited majesty all the more necessary. ‘The Paralian’ is a masterwork, and an unbeatable way to spend a winter evening.

                                                            FORMAT INFORMATION

                                                            LP Info: Reissue.

                                                            Smoove & Turrell

                                                            Antique Soul

                                                              A raw and rich story-telling vein was captured when Smoove & Turrell released their debut album, 'Antique Soul' in 2009. It laid the seed for what has become a unique musical direction, forged by a band who boosts a loyal fanbase worldwide to this day. It's a rarity when an album delivers eleven songs that grow on the listener with every play. After much demand for a repress, this sought-after LP comes in the form of a Limited Red and Black Splatter Vinyl.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Red and black splatter vinyl.

                                                              Redd Kross

                                                              Red Cross (Reissue)

                                                                The special 40th anniversary edition of the Red Cross EP, which includes the band’s six-song eponymous debut and adds five contemporaneous extra tracks, is the most comprehensive document to date of the extraordinary birth of Redd Kross. In a single 12-month period, Jeff and Steven McDonald, two adolescent brothers from Hawthorne, CA, went from posing with cheap guitars and singing into hairbrushes in front of their bedroom mirror to recording in world-class studios and performing live at punk shows/riots that are still being pondered and written about for their pioneering cultural relevance within the Southern California punk landscape. Redd Kross incubated alongside such SoCal luminaries as Black Flag, Descendents, and the Minutemen, and this new 11-song collection which includes a live track recorded in 1979 at “The Church,” the infamous Black Flag birthplace in Hermosa Beach, CA puts in proper perspective the McDonald brothers’ contribution, at the ridiculously precocious ages of 12 and 16, to that area’s punk scene.

                                                                The demo session was recorded at Media Art in Hermosa Beach, the same studio where Black Flag made their Nervous Breakdown EP. Engineered by Spot and produced by power pop godfather Joe Nolte of the Last, these four tracks mark the first time the band had ever stepped foot in a recording studio. Notably, the demo session was paid for with 12-year-old bassist Steven’s paper route money. A couple of months later, in October 1979, the band recorded the “Posh Boy” sessions at the Shelter, a studio in Hollywood owned by Shelter Records, which was home to rock vet Leon Russell and relative newcomers at the time Tom Petty & the Heartbreakers. Engineered by guitarist Jim Mankey (Sparks, Concrete Blonde), this session produced the proto power pop punk classics “Annette’s Got the Hits” and “I Hate My School,” both of which would appear on their 1980 self-titled debut EP on Posh Boy Records.

                                                                The entire birth story of Redd Kross is being celebrated on this 40th anniversary edition of Red Cross (known to many as “the Posh Boy EP”), and these tracks sound as fresh and vital to our ears now as they did when they were originally released four decades ago.

                                                                Penny Rimbaud

                                                                Christ's Reality Asylum

                                                                  Written and published as a journal of dissent in 1977 by Penny Rimbaud before the formation of anarchist tricksters Crass, ‘Christ’s Reality Asylum’ became the template for much of the socio-political attitudes of the band. Crass’ first album, ‘The Feeding of the Five Thousand’, included a short section of the journal, going under the title of ‘Reality Asylum’, which led to immediate interest from the authorities. Charges of ‘criminal blasphemy’ were eventually dropped, but from that time on Crass were under constant surveillance by the police and MI5 (the New York mafia didn’t like it either!). In short, ‘Christ’s Reality Asylum’ is Crass in a very large nutshell.

                                                                  The decision to release ‘Christ’s Reality Asylum’ was made to celebrate Crass’ change of label from Southern Records to One Little Indian. Having in 2019 lovingly remastered their entire catalogue at Abbey Road Studios, it seemed only natural that they should release ‘Christ’s Reality Asylum’ as the cherry to top the cake. Radical in the extreme, the release of ‘Christ’s Reality Asylum’ is also a celebration of creative freedom.

                                                                  The genesis of ‘Christ’s Reality Asylum’ is a story in itself – script written by Penny Rimbaud in Spring 1977, later to be used in part as ‘Reality Asylum’ performed by Eve Libertine as the first track of Crass’ first album ‘The Feeding of the Five Thousand’, released in 1978. Initial recording of Penny Rimbaud’s reading by A-Soma at Red Herring Studios, Autumn 1991. Mastered at Southern Studios by A-Soma and Paul Harding in Winter 1991. Solo voice recording released in cassette form on Crass Records, Summer 1992. Hugh Metcalfe’s backing voice and noise recorded by Tony Barber at The Shedio Studio in Summer 2012. Eve Libertine’s backing vocals recorded by Harvey Birrell at Old Street Studios in Autumn 2019.

                                                                  It’s also worth noting that the now legendary Crass logo was designed by Dave King (sadly, recently deceased) not as a logo for the band, but as a frontispiece for ‘Christ’s Reality Asylum’ published in 1977 in its journal form. It became the band’s logo more by mistake than by design when Gee Vaucher incorporated it into her stunning broadsheet publication, ‘International Anthem’, from which it became assumed to be a Crass logo. Appropriately, the release of ‘Christ’s Reality Asylum’ coincides with the end of politics as we have known it. A clown in the White House, a joker in Number Ten, but no one is laughing. EXIT STAGE RIGHT.

                                                                  Ann Sexton

                                                                  Loving You, Loving Me

                                                                    Mary Ann Sexton was born in Greenville, South Carolina, 5th February 1950 and is sadly one of the most overlooked female southern soul singers.

                                                                    She launched herself onto the secular soul scene at the dawn of the seventies as ‘Ann Sexton and the Masters Of Soul’ alongside her husband, saxophonist Melvin Burton.

                                                                    Her debut disc “You’ve Been Gone Too Long” (a Northern Soul masterpiece) was originally released on the local ‘Impel’ label before catching the ear of Nashville DJ/Producer John Richbourg who signed her to his ‘Seventy 7’ imprint. Her debut album ‘Loving You, Loving Me’ followed in 1973 featuring the single plus club favourite “I Still Love You” and the funky hit “You’re Gonna Miss Me”, Billboard R&B #47.

                                                                    Before the decade was out Ann had turned her back on the music business in favour of a career in academia. In 2003 her self-penned song “You’re Losing Me” (also featured her) appeared on the soundtrack to the hit movie ‘21 Grams’ reigniting her long-lost passion. In recent times she has appeared at several UK and European events wowing audiences with her unique talent.

                                                                    The Rolling Stones

                                                                    Voodoo Lounge - Half-speed Master Edition

                                                                      Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                      Packaging has been simplified from the originals in the box set.

                                                                      Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                      Each album is pressed on heavyweight 180-gram black vinyl.

                                                                      Originally released in 1994, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                      Pressed on heavyweight 180g black double vinyl with gatefold packaging, this album features the singles ‘Love Is Strong’, ‘You Got Me Rocking’, ‘Out Of Tears’ and ‘I Go Wild’.

                                                                      The Rolling Stones

                                                                      Black And Blue - Half-speed Master Edition

                                                                        Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                        Packaging has been simplified from the originals in the box set.

                                                                        Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                        Each album is pressed on heavyweight 180-gram black vinyl.

                                                                        Originally released in 1976, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                        Pressed on heavyweight 180g black vinyl with gatefold packaging, this album features the singles ‘Fool To Cry’ and ‘Hot Stuff’.

                                                                        The Rolling Stones

                                                                        A Bigger Bang - Half-speed Master Edition

                                                                          Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                          Packaging has been simplified from the originals in the box set.

                                                                          Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                          Each album is pressed on heavyweight 180-gram black vinyl.


                                                                          Originally released in 2005, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                          Pressed on heavyweight 180g black double vinyl with gatefold packaging, this album features the singles ‘Streets Of Love’, ‘Rough Justice’, ‘Rain Fall Down’ and ‘Biggest Mistake’.

                                                                          The Rolling Stones

                                                                          It's Only Rock 'N' Roll - Half-speed Master Edition

                                                                            Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                            Packaging has been simplified from the originals in the box set.

                                                                            Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                            Each album is pressed on heavyweight 180-gram black vinyl.

                                                                            Originally released in 1974, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                            Pressed on heavyweight 180g black vinyl, this album features the singles ‘It’s Only Rock ‘N’ Roll (But I Like It)’ and ‘Ain’t Too Proud To Beg’.

                                                                            The Rolling Stones

                                                                            Emotional Rescue - Half-speed Master Edition

                                                                              Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                              Packaging has been simplified from the originals in the box set.

                                                                              Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                              Each album is pressed on heavyweight 180-gram black vinyl.

                                                                              Originally released in 1980, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                              Pressed on heavyweight 180g black vinyl, this album features the singles ‘Emotional Rescue’ and ‘She’s So Cold’.

                                                                              The Rolling Stones

                                                                              Tattoo You - Half-speed Master Edition

                                                                                Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                                Packaging has been simplified from the originals in the box set.

                                                                                Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                Each album is pressed on heavyweight 180-gram black vinyl.

                                                                                Originally released in 1981, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                Pressed on heavyweight 180g black vinyl, this album features the singles ‘Start Me Up’, ‘Waiting On A Friend’ and ‘Hang Fire’.

                                                                                The Rolling Stones

                                                                                Undercover - Half-speed Master Edition

                                                                                  Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                                  Packaging has been simplified from the originals in the box set.

                                                                                  Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                  Each album is pressed on heavyweight 180-gram black vinyl.

                                                                                  Originally released in 1983, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                  Pressed on heavyweight 180g black vinyl and including a double-sided insert, this album features the singles ‘Undercover Of The Night’, ‘She Was Hot’ and ‘Too Much Blood’.

                                                                                  The Rolling Stones

                                                                                  Dirty Work - Half-speed Master Edition

                                                                                    Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                                    Packaging has been simplified from the originals in the box set.

                                                                                    Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                    Each album is pressed on heavyweight 180-gram black vinyl.

                                                                                    Originally released in 1986, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                    Pressed on heavyweight 180g black vinyl, this album features the singles ‘Harlem Shuffle’ and ‘One Hit (To The Body)”.

                                                                                    The Rolling Stones

                                                                                    Bridges To Babylon - Half-speed Master Edition

                                                                                      Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                                      Packaging has been simplified from the originals in the box set.

                                                                                      Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                      Each album is pressed on heavyweight 180-gram black vinyl.

                                                                                      Originally released in 1997, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                      Pressed on heavyweight 180g black double vinyl with gatefold packaging, this album features the singles ‘Anybody Seen My Baby’, ‘Saint Of Me’ and ‘Out Of Control’.



                                                                                      The Rolling Stones

                                                                                      Steel Wheels - Half-speed Master Edition

                                                                                        Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

                                                                                        Packaging has been simplified from the originals in the box set.

                                                                                        Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                        Each album is pressed on heavyweight 180-gram black vinyl.

                                                                                        Originally released in 1989, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

                                                                                        Pressed on heavyweight 180g black vinyl, this album features the singles ‘Mixed Emotions’, ‘Rock And A Hard Place’, ‘Almost Hear You Sigh’ and ‘Terrifying’.

                                                                                        The National

                                                                                        High Violet - 10 Year Anniversary Expanded Edition

                                                                                          Originally released in May 2010, the critically acclaimed fifth studio album features the now-classics “Terrible Love”, “Bloodbuzz Ohio”, “England”, and perennial show closer, “Vanderlyle Crybaby Geeks.” In addition to the 10 original tracks, the triple LP package includes a third LP which includes tracks never before available on vinyl, including “Wake Up Your Saints,” an alternate version of “Terrible Love”, “Walk Off” and more.

                                                                                          FORMAT INFORMATION

                                                                                          3xColoured LP Info: Triple marbled white & purple/violet vinyl.

                                                                                          Maston

                                                                                          Tulips - 2020 Reissue

                                                                                            Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

                                                                                            Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

                                                                                            There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

                                                                                            Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

                                                                                            Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

                                                                                            Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

                                                                                            Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

                                                                                            All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

                                                                                            Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

                                                                                            Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

                                                                                            The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

                                                                                            This Be With reissue has been mastered for vinyl by Simon Francis and has alternative burnt orange artwork from Maston himself. Hypnagogic it may be, but please don’t sleep.


                                                                                            FORMAT INFORMATION

                                                                                            Ltd LP Info: 2020 re-issue, 140g vinyl. Can be played at 33rpm or 45rpm.

                                                                                            Ulrich Schnauss

                                                                                            A Strangely Isolated Place

                                                                                              Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue, having recently had all his recording rights returned to him.

                                                                                              The second of five albums, ‘A Strangely Isolated Place’ was originally released in 2003. It is generally regarded as a landmark electronic music statement.

                                                                                              Augustus Pablo

                                                                                              Blowing With The Wind - Vinyl Reissue

                                                                                                Released on Greensleeves in 1990 to glowing reviews ‘Blowing With The Wind’ went on to be Pablo’s most successful album since the seventies. The mix of nyahbinghi drumming and hardcore steppers was embraced big time by the new age sound-system culture bringing Pablo’s far east sound to a whole new audience. A successful tour of Japan followed where Pablo showcased Blowing With The Wind with a selection of his original rockers. Recorded at Tuff Gong & Dynamic and mixed at Tuff Gong & Music Works, engineered by Soldgie, Chunny, Sylvan Morris & Tony Kelly.

                                                                                                Ulrich Schnauss

                                                                                                No Further Ahead Than Tomorrow

                                                                                                  Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue, having recently had all his recording rights returned to him.

                                                                                                  The last of the five albums, ‘No Further Ahead Than Tomorrow’ was originally released in 2016 and has been rerecorded and reworked as well as being remastered. It now sounds the way Ulrich had intended, hence the change of title from ‘Today’ to ‘Tomorrow’.

                                                                                                  Augustus Pablo

                                                                                                  Rising Sun - Vinyl Reissue

                                                                                                    The release of Rising Son in 1986 on Greensleeves began a new era for Augustus Pablo edging his Rockers revolution into the digital age. In his own words Rising uon “mix-up the vibes a little more” from steppers like ‘Pipers of Zion’, revival reggae ‘African Frontline’ and the deep and heavy ‘The Day Before The Riot’. Recorded at Channel One, Tuff Gong, Dynamic & HC&F and engineered by Phillip Smart and Scientist.

                                                                                                    Joni Mitchell

                                                                                                    Shine

                                                                                                      The 19th studio album from Mitchell, Shine marked the legendary Canadian singer-songwriter’s first collection of original material in nearly a decade, and came as a welcome surprise to the artist’s fans, following her well-publicized break with the music business at the turn of the millennium. Described by Mitchell to be “as serious a work as I’ve ever done,” Shine was inspired by the environmental, social and political turmoil which plagued the era of the Iraq War. The 10 tracks on the album echo Mitchell’s pensive mood—reflective lyrics and beautiful, often-minimalist, piano-driven melodies paint a somber, yet hopeful picture. Highlights include the instrumental opener, “One Week Last Summer,” featuring the versatile multi-instrumentalist Bob Sheppard on soprano saxophone; the epic “Night of the Iguana,” loosely based on John Huston’s 1964 film; the title track, featuring an appearance by longtime friend James Taylor on guitar; Mitchell’s revisit to “Big Yellow Taxi,” which feels eerily prophetic 50 years after its debut, and “If I Had a Heart,” which the New York Times described as “one of the most haunting melodies she has ever written." 


                                                                                                      Shirley Scott

                                                                                                      One For Me

                                                                                                        Presenting Shirley Scott’s deeply personal album, ‘One for Me’ - a defiant tribute to the music she always desired to create but was shrouded by the demands of her vibrant career. Thoughtful curation of the band, tracks, and completely self-funded, this project set off on an innovative trajectory supported by Harold Vick on tenor saxophone and Billy Higgins on drums. Originally released on the revolutionary artist-owned label, Strata-East Records, in January 1975, this unique project is available to enjoy again on Arc Records.

                                                                                                        The impetus for this record was a real desire for Shirley to express herself more freely and create something for herself, taking back the power she’d seemingly relinquished throughout her career. Maxine Gordon, Scott’s close friend, and executive producer on the original record, expresses that they often had intimate discussions about how Scott was being told what to play, what to wear, how to look and how to speak in public for many years. Having had enough of these restrictions, she created this record to please no one but herself. As Scott expresses on the back of the original LP sleeve:

                                                                                                        “All of the music recorded in this album is both personal and very purposeful to me, because it is the first step toward honesty about what and how I want to play. I’ve done a lot of other albums, a lot of different ways for a lot of different people and now, with the help of the Creator, in whom all things are possible, I have done one for me too.”

                                                                                                        Having self-raised funds to make the record, with complete control over the masters, and with her dream band together, Scott recorded at Blue Rock Studio in November 1974. Harold Vick, often referred to as one of the “unsung tenor saxophonists” of his time, was cherry picked to bring Scott’s vision to life. Throughout his career, he released records on Blue Note, RCA as well as performing and recording with a string of legendary artists such as Ray Charles, and Aretha Franklin. Completing the dream trio was highly sought out drummer Billy Higgins, who is the most recorded drummer in the history of Blue Note Records, having played on 45 Blue Note albums. The key to their success was that Higgins tuned his drums to fit with the organ’s bass sound which, of course, Scott played with her feet.

                                                                                                        Scott was also known as “Little Miss Half-Steps,” a name given to her by tenor saxophonist George Coleman, (who wrote a composition by that name in her honor) - she regularly played with both George & Harold. Coleman is known to have admired Scott’s half-steps (when you play two adjacent keys on the organ or piano) and their close bond and mutual respect is solidified on this record through a track titled ‘Big George’ - specifically written for Coleman.

                                                                                                        “Queen of the Organ”, Shirley Scott was born in Philadelphia in 1934 and lived there most of her life until her early death in March 2002 at the age of 67. Having mastered the piano at an early age, Scott switched from piano to organ at the tender age of 21. Scott had a legendary recording career as a leader with 45 albums mainly released on Impulse and Prestige and is often remembered for her work with Eddie “Lockjaw” Davis and Stanley Turrentine. Boasting a thriving career as a musician and composer, Scott progressed to a professor at Cheyney University in her later years. She was a treasured mother and grandmother, and a cherished friend of music scholar, Maxine Gordon, who’s honour it is to collaborate with Arc Records on shining a new bright light on this monumental body of work.

                                                                                                        FORMAT INFORMATION

                                                                                                        Ltd LP Info: We're only getting a handful of these so don't snooze!

                                                                                                        Lonnie Liston Smith & The Cosmic Echoes

                                                                                                        Expansions

                                                                                                          Lonnie’s 1975 jazz-funk masterpiece is released on 180g black vinyl in a nice thick card gatefold sleeve.

                                                                                                          Former Miles Davis and Pharoah Sanders keyboardist Lonnie Liston Smith saw all his musical ideas coming together for this, his third album. The title track is one of the best-known jazz funk classics; its influence on several generations of clubbers cannot be underestimated. It is a glorious amalgamation of jazz players and the tenor voice of Lonnie’s brother Donald. However, the track’s success has resulted in the album becoming rather overlooked and its other six pieces underappreciated.

                                                                                                          ‘Desert Nights’ and ‘Voodoo Woman’ give vent to Lonnie’s improvisational skills over a modal base. ‘Summer Days’ and ‘My Love’ are based around Latin rhythms, with the latter proving another great vehicle for Donald Smith’s voice. Donald is also the singer on an inspired take on Horace Silver’s ‘Peace’.

                                                                                                          “One of dance music’s most significant records” – Gilles Peterson.

                                                                                                          Manic Street Preachers

                                                                                                          Gold Against The Soul (2020 Remastered Edition)

                                                                                                            Manic Street Preachers announce the reissue of their 1993 album, ‘Gold Against The Soul’ on Columbia/Sony Music. A firm fan favourite, their second studio album will now be available as part of a beautiful, limited edition, 120-page hardbound A4 book, featuring incredible unseen images from the band’s long-time photographic collaborator Mitch Ikeda, annotated by Nicky Wire plus handwritten lyric sheets. The book also includes x2 CDs comprising the original album plus x11 previously unheard tracks across demos, b sides, remixes and a live recording of the Clash track ‘What’s My Name’, remastered by James Dean Bradfield. There will also be a 180g vinyl version of the remastered album with download codes to the extra tracks on CD1 and a digital version featuring all the tracks.

                                                                                                            'Gold Against The Soul' entered the Top 10 on release just over a year after their debut album 'Generation Terrorists' and saw the band shift musically to a classic rock sound.  Lead single 'From Despair To Where' was followed by 'La Tristesse Durera (Scream To A Sigh)', 'Roses In The Hospital' and 'Life Becoming A Landslide'.  Produced by Dave Eringa who had been working in various guises with the band and continues to do so to this day, the album was recorded over six weeks at Outside/Hookend Studios.

                                                                                                            FORMAT INFORMATION

                                                                                                            Ltd LP Info: 180g vinyl version of the remastered album with download codes to the extra tracks on CD1 and a digital version featuring all the tracks.

                                                                                                            2xCD & Book Info: 120-page hardbound A4 book, featuring incredible unseen images from the band’s long-time photographic collaborator Mitch Ikeda, annotated by Nicky Wire plus handwritten lyric sheets. The book also includes x2 CDs comprising the original album plus x11 previously unheard tracks across demos, b sides, remixes and a live recording of the Clash track ‘What’s My Name’, remastered by James Dean Bradfield.

                                                                                                            24 Carat Black

                                                                                                            III

                                                                                                              From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staples Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren’s singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His everevolving 24-Carat Black project spanned the ’70s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren’s 1980s demos cut with grown n’ sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. III is an unfinished symphony that peels away the final layer of Dale Warren’s mysterious oeuvre.

                                                                                                              The Sonics

                                                                                                              Boom

                                                                                                                We follow up January’s release of “Here Are The Sonics!” with a 180g black vinyl replica release of “Boom” – the Sonics’ second album, originally released in 1966 on Etiquette Records in wonderful mono.

                                                                                                                “Boom” still does much more than merely deliver on the promise of the first album, “Here Are The Sonics!”. Few records have ever packed as much of a musical punch from start to finish. Even more so than their first LP, it offers a representation of what the Sonics must have sounded like at the peak of their considerable powers.

                                                                                                                Recorded in the most glorious no-fi you could ever wish for and with anthemic originals like ‘Cinderella’ and ‘He’s Waiting’ vying for your attention with what is possibly the most violent version of ‘Louie Louie’ that there will ever be, “Boom” is an album that has always justified the esteem in which it is held by collectors around the globe.

                                                                                                                All the modern bumph like barcodes and whatnot is on a disposable sticker, leaving your copy of “Boom” as original as possible.

                                                                                                                The Phoenix Foundation

                                                                                                                Buffalo - 10 Year Anniversary Coloured Vinyl Edition

                                                                                                                  2020 marks a decade since The Phoenix Foundation’s “Buffalo” was born. Featuring a number of the New Zealand group’s most enduring songs, from the gently psychedelic drift of opener “Eventually”, the idiosyncratic title track (once covered by Lorde, pop pickers!), the sugar-sweet “Flock Of Hearts”, pidgin-German “Bitte Bitte” to the soaring melancholy swell of closing tracks “Wonton” and “Golden Ship” it’s a record that has well and truly stood the test of time.

                                                                                                                  Featuring guest appearances from fellow musical travellers Connan Mockasin and Lawrence Arabia, ‘Buffalo’ took the band on quite a journey. Following its release in New Zealand in April 2010, the album found a home on one of the UK’s finest indie labels Memphis Industries. Hugely acclaimed on its European release, The Phoenix Foundation headed over to these shores for a run of sold out shows, appearances on TV in the UK and Germany, including a coveted slot on ‘Later… with Jools’, and saw them find a multitude of new fans including, but not limited to a certain Jarvis Cocker. 


                                                                                                                  The Blue Nile

                                                                                                                  High

                                                                                                                    To complete their reissue programme The Blue Nile again worked alongside long term producer/engineer partner Calum Malcolm.

                                                                                                                    This 2CD deluxe set, features all nine tracks remastered plus a bonus disc featuring four previously unreleased songs plus two extended remixes - over 32 minutes of new music!

                                                                                                                    Also available for the first time on vinyl (full album,9 tracks, remastered) completing the series of catalogue re-issues.

                                                                                                                    The Blue Nile hope you fully enjoy them!!

                                                                                                                    Jimi Hendrix

                                                                                                                    Band Of Gypsys - 50th Anniversary Edition

                                                                                                                      Band of Gypsys was originally released in March 1970, at a time when Hendrix was at the peak of his powers. Featuring a new line up consisting of drummer Buddy Miles and bassist Billy Cox, it was recorded across two performances at the Fillmore East on New Year’s Day 1970. The resulting live album captured an incendiary mix of blues, rock, and funk.

                                                                                                                      The 50th anniversary edition of Band of Gypsys features an 8 page book featuring rare archival photos and an essay by Hendrix archivist John McDermott, and has been remastered from the original analogue stereo tapes by Eddie Kramer, long time engineer to Jimi Hendrix. 

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: 180 gram audiophile pressing on dark red marble effect vinyl.

                                                                                                                      Tommy McGee

                                                                                                                      I'm A Stranger

                                                                                                                        Just as Al Green’s “Back Up Train” was pulling out of Grand Rapids, Michigan, for a whistle stop tour to the top of the charts, producer Palmer James began eyeing another Furniture City branch line: Tommy McGee. The result was 1976’s Positive-Negative , the creative apex in a career littered with endless bottoms. Gathered for the first time are McGee’s timeless album, singles for Golden Voice, Mercury, TMG, and Tosted, as well as the complete output of his nascent mid-’60s funk combo the T.M.G.’s

                                                                                                                        Ulrich Schnauss

                                                                                                                        Far Away Trains Passing By

                                                                                                                          Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The first of five albums, ‘Far Away Trains Passing By’ was originally released in 2001 and was the album that introduced Ulrich to the world. It is generally regarded as a landmark electronic music statement and now comes with 9 bonus tracks.

                                                                                                                          For fans of Brian Eno, Jon Hopkins, Tycho.

                                                                                                                          Ulrich Schnauss

                                                                                                                          A Long Way To Fall - Rebound

                                                                                                                            Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The fourth of five albums, ‘A Long Way To Fall - Rebound’ was originally released in 2013 and has been rerecorded and reworked as well as being remastered. It now sounds the way Ulrich had intended, hence the new additional ‘Rebound’ title.

                                                                                                                            For fans of Brian Eno, Jon Hopkins, Tycho

                                                                                                                            The Eighteenth Day Of May

                                                                                                                            The Eighteenth Day Of May

                                                                                                                              Cardinal Fuzz and Feeding Tube Records are pleased to bring to you for the first time The Eighteenth Day Of May - S/T Retrospective, compromising of their only LP along with proposed tracks recorded for their 2nd LP that they never finished, demoes and b-sides.

                                                                                                                              The Eighteenth Day of May were a six-piece, London based group. Originally formed as an acoustic trio consisting of American Alison Brice (vocals, flute), Swede Richard Olson (acoustic guitar, harmonica and sitar) and Ben Phillipson (guitar and mandolin), they combined elements of traditional and contemporary folk with a psychedelic jangle. They spent the summer and autumn of 2003 bonding over Fairport Convention, The Incredible String Band, Steeleye Span, Sandy Denny and Trees all blending in with the Psychedelic music they already loved which was feeding into their home demo recordings. In early 2004 they went electric adding the rhythm section of Mark Nicholas (bass), and Karl Sabino (drums,autoharp) and then lastly ex-Saloon player Alison Cotton (viola). It was after appearing on a cover mount disc for the much missed ‘It Comes With A Smile Magazine’ that Andy Childs (Head of Hannibal Records /RYKO) fell in love with the band and continued the path of fellow legendary Hannibal head Joe Boyds policy of signing eclectic artists.

                                                                                                                              Back in 2004 it felt like no one was making music like this – old weird folk songs, Americana, original psych folk, minimalist drones via great melodies and eclectic instrumentation. The result was a joyous, unfetted, fluid sound that in one moment could conjure up flashes of The Byrds or Fotheringay and then minutes later the spirit of The Velvet Underground would drift though the music. Live they would even cover artist from Spacemen 3 and The Brian Jonestown Massacre to Buffy Saint Marie to traditional folk songs and would not be afraid to stamp their own identity on them. When it come to recording their first (and only) LP they were teaming with ideas and enthusiasm, buoyant from the attention of artists like Robyn Hitchcock and Peter Buck with whom they toured. The LP some 15 years later has not dated one bit, as with all good music it’s qualities have and resonance have matured and endured, it’s subtleties have become more apparent and beguiling. maybe 2005 just wasn’t ready for a band playing contemporary English Folk Music. Added onto to this retrospective release are several excellent extra tracks, some of which were recorded for a second album that they were never able to complete. Hard to imagine it would have been even better than the first but listen to the tracks recorded and you can only feel sadness that it never happened.

                                                                                                                              Prince

                                                                                                                              The Rainbow Children

                                                                                                                                As the world greeted the promise of a new millennium, even Prince was experiencing a great sense of transformation. In 2000, he announced the reclamation of his birth name after seven years as an unpronounceable symbol. In 2001, after a period of study and debate with his friend and mentor Larry Graham (former bassist for Sly and The Family Stone), Prince converted to the Jehovah’s Witness faith. These transformations bore fruit with the release of The Rainbow Children at the end of 2001.

                                                                                                                                Billed as “controversial” in its press materials for its open spiritual message, the jazz-inspired record was Prince’s first fully independent release, issued without any major label backing. One of its songs, “The Work, Pt. 1,” was released by Prince as a free download on the file-sharing service Napster; this move, along with direct-to-consumer stream and download options on the NPG Music Club, made Prince a digital music visionary. The Rainbow Children is a continued favorite among Prince’s most fervent admirers due to its complex musical narrative, its use of live drums and a full horn section, and the striking album art by artist Cbabi Bayoc, which still hangs in the hallowed halls of Paisley Park today. 

                                                                                                                                65daysofstatic

                                                                                                                                We Were Exploding Anyway / Heavy Sky - 10th Anniversary Pressing

                                                                                                                                  Prince

                                                                                                                                  One Nite Alone... Solo Piano And Voice By Prince

                                                                                                                                    Prince followed The Rainbow Children with the stunning One Nite Alone… in May 2002. Featuring almost nothing but Prince’s acoustic piano & vocals (save for occasional rhythm from drummer John Blackwell & the ambient cooing of Divinity & Majesty, Prince’s pet doves), this intimate album offers favorites like “U’re Gonna C Me” & a cover of “A Case Of U,” written by one of Prince’s idols, Joni Mitchell. The original album never had a wide physical release as the CD was an exclusive to Prince’s NPG Music Club members & this marks it’s first time on vinyl. 

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Coloured LP Info: Purple vinyl in single jacket with designed sleeve.

                                                                                                                                    You've Got Foetus On Your Breath

                                                                                                                                    Deaf

                                                                                                                                      Foetus is the brainchild of acclaimed Brooklyn-based composer JG Thirlwell. Thirlwell is known for his solo sets with electronics, sound installations, composing string arrangements, remixes, commissions, and soundtracks, and has collaborated or arranged for a wide variety of artists including Karen O, Noveller, Zola Jesus, Melvins, Swans, Nine Inch Nails, Lydia Lunch, Coil, Z's, The The, Simon Hanes, Nick Cave and many more. DEAF was the first album by JG Thirlwell as Foetus. Originally released in 1981, it's a wild eccentric collision of ideas and mania from music concrete, funk, no wave to noise. DEAF was released on Thirlwell's Self Immolation label and has been out of print for 30+ years. 

                                                                                                                                      Motohiko Hamase

                                                                                                                                      Anecdote

                                                                                                                                        WRWTFWW Records is proud to announce the official reissue of Motohiko Hamase’s extremely rare live album Anecdote (recorded in 1987). The album is sourced from original masters and available on vinyl (double LP) for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the sixth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                                                                                                        Anecdote was recorded live June 12th 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase’s unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence, Intaglio, and #Notes of Forestry.

                                                                                                                                        It’s environmental and minimalist experiments with a jazz soul, three brilliant musicians flowing to blissful heights, and a beautiful testament to the 80s Japanese ambient scene that gave birth to seminal releases by Midori Takada, Satoshi Ashikawa, Yutaka Hirose and many more. Essential.

                                                                                                                                        The live album came out on CD only in 1993 on Motohiko Hamase’s Lung Records.

                                                                                                                                        Motohiko Hamase

                                                                                                                                        #Notes Of Forestry

                                                                                                                                          WRWTFWW Records is excited to announce the official reissue of Motohiko Hamase’s remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                                                                                                          One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3).

                                                                                                                                          Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom, he explains:

                                                                                                                                          "Inside the body of a musician, music is always transcendentally resonating. More than
                                                                                                                                          language, music reigns. When creating music overlaps with the moment my body performs, I
                                                                                                                                          strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at
                                                                                                                                          the foundation of this album".

                                                                                                                                          Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, and Yutaka Hiros’s Nova.


                                                                                                                                          Motohiko Hamase

                                                                                                                                          Technodrome

                                                                                                                                            WRWTFWW Records is very happy to announce the official reissue of Motohiko Hamase’s astounding ambient house album Technodrome (1993). The album is sourced from original masters and available on vinyl for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the fourth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.

                                                                                                                                            Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase’s foray into what he calls ambient house or, as he explains, "using the gritty sensation inherent to the core of house music" to create an ambient record "aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city".

                                                                                                                                            Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It’s the most intriguing project in Hamase’s discography, a ghostly ride set in 90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase’s deeper subtext for his compositions: "and attempt to recreate (as metaphor) the time in our mother's womb".

                                                                                                                                            The album was initially released in 1993 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. 

                                                                                                                                            Various Artists

                                                                                                                                            DJ Kicks - Kruder & Dorfmeister - Vinyl Reissue

                                                                                                                                              Smoke it! Feel It!

                                                                                                                                              The slo-beat pioneers Kruder & Dorfmeister of Vienna are among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, big names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Their productions on compilations of Ninja Tune, SSR and Wall Of Sound are considered milestones regarding the trip-hop genre and many major companies are trying to release their debut album.

                                                                                                                                              Since 1993 the two smart Austrians Peter Kruder & Richard Dorfmeister have been working together as a team and when being asked about their musical roots they name musicians like Miles Davis, Sly Stone, Brian Eno, Serge Gainsbourg or Bill Laswell. Besides this they are great admirers of the Gilles Peterson and Coldcut Radioshow of London's cult-station Kiss FM, which had a lot of influence on their musical open mindness. Their label G-Stone was able to gain outstanding reputation with its four releases and earned fantastic media reaction in international publications.

                                                                                                                                              Besides their outstanding fame as producers both were able to blast even the hippest clubs on this planet with their extravagant DJ-sets. Their breathtaking mixture of trip-hop, dub, ambient and drum'n'bass is supposed to be way-leading thus supporting their cult-status. Smokin' tracks of Herbalizer, Statik Sound System, Hardfloor, Aquasky, Shantel and others are combined on their DJ-Kicks set, gathering the hottest labels from Ninja to Cheap, from Moving Shadow to Creative Wax. A dub producer helped to remix the entire material making it a thrilling club soundtrack for the 90s. By the way, during the work for DJ-Kicks and their debut album they refused remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four.

                                                                                                                                              Masahiko Sato

                                                                                                                                              Belladonna

                                                                                                                                                “There was a time when the strength of a musician’s vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic.” - Jim O’Rourke

                                                                                                                                                An unholy grail of near mythical status finally joins the Finders Keepers Records discography in the form of this first-ever reissue of Masahiko Sato’s elusive sensual psychedelic free jazz score to the stunning Japanese witchcraft animation Belladonna Of Sadness (Kanashimi no Belladonna) directed by anime screenwriter Eiichi Yamamoto in 1973. An early feature-length example of a micro-genre in which Japanese anime producers collaborated with the “pink” film genre, Belladonna’s challenging occult, sexual and political subject matter was the cause of the film’s notoriety for many years, earning Yamamoto’s work a critical platform amongst some of the best counterculture animation films of the era such as La Planète Sauvage ( René Laloux / Roland T poor, France 1973), Marie Mathématique (Jean-Claude Forest, France 1967), Wizards (Ralph Bakshi, US 1977), Heavy Metal (Gerald Potterton, Canada 1980) and Time Masters (René Laloux / Moebius, France 1982). Drawing further stylistic similarities with Shuji Terayama / Tenjo Sajiki associated poster artist Aquirax Uno and the Hara-Kiri magazine cartoon strips Pravda / Jodelle by French artist Guy Peellaert, as well as the early flamboyant Klimtesque imagery of Jean Rollin collaborators Philippe Druillet and Nicolas Devil, Belladonna Of Sadness brought a strong European flavour to its sophisticated and stylish Japanese application which accentuated the French origins of the plot loosely based on accounts taken from the 1862 book La Sorcière (The Witch) by French historian Jules Michelet.

                                                                                                                                                Over the last decade Belladonna Of Sadness has risen from the ashes and now shines brighter than ever. Now on the eve of its third or fourth global DVD release, fans no longer have to wait four months for third generation VHS telecine rubs from “that guy” in the States, or stuff their ambitious wish lists into the hands of any lucky friends visiting Tokyo in the summer. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers and other creative types along the way.

                                                                                                                                                Original copies of the soundtrack, however, are much less likely to rear their heads on a weekly basis, with prices literally doubling each time the original stock copies swap hands amongst the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, as I’m sure you’ll agree, has got extra credentials. Finders Keepers Records, in direct collaboration with Sato himself, agree that this record should finally be liberated amongst those who know the magic words. With our decision to keep this album “strictly Sato” we removed a track – the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana, which in all honesty is very much detached from Sato’s psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato’s then wife Chinatsu Nakayama, including the track entitled 'TBFS' that only appears on the master tapes and never actually made it to the theatrical cut of the film.

                                                                                                                                                This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in both film music, jazz and avant garde composition.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Limited edition pink and blue splatter vinyl.

                                                                                                                                                Piper

                                                                                                                                                Gentle Breeze

                                                                                                                                                  Scoring a hit with their second album Summer Breeze, Piper set out to record their follow up in a similar vein. Members remained the same: Keisuke Yamamoto (guitar, vocals), Takashi Shima (keyboards), and Wataru Ito (bass). Guest musicians included Kazuhito Murata and Hiroshi Koitabashi on chorus, and Tetsuaki Hoashi on percussion. Recording sessions for the third album began less than 6 months after the second, but the evolution of their sound was considerable. One reason was utilizing the skills of Yuji Toriyama for programming of the Linn Drums. This made it easier for the band to write and arrange their songs to their liking. Second was that the band members were beginning to enjoy making music in this style. Specific ideas were coming together to become distinct songs. The fact that they were able to transcend the BGM style that they initially aspired towards to create a distinct pop sound, is one of the important aspects of this album.

                                                                                                                                                  The front cover photo of a snowy scene juxtaposed with the sunny pool scene of the back cover, also had quite an impact. This jacket design was a collaboration between (TV personality and jazz aficionado) Tamori, who took the photos, anddesigner Hajime Anzai. The two would go on to become the popular co-hosts of “Soramimi Hour” on Tamori’s variety show Tamori Club. The duo’s unique visual sense encouraged listeners to enjoy the sounds of summer in a wintery setting – which in turn had a hand in influencing Piper’s own sound as well.

                                                                                                                                                  Gentle Breeze is in one way an extension of Summer Breeze, in other ways it’s one big step up. Many Piper fans consider this album to be their masterpiece. For fans who enjoy this phase of Piper, we encourage you to listen to the songs from Gentle Breeze and Summer Breeze on shuffle. That way the meaning catch copy on the obi – “Gentle Beat Pop” – should start to make sense.


                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Coloured LP Info: Red and white splatter vinyl + 24" x 24" poster.

                                                                                                                                                  Moodymann

                                                                                                                                                  Forevernevermore

                                                                                                                                                    "Forevernevermore" was originally released in 2000 and is the second full length on Peacefrog from Kenny Dixon Jnr.

                                                                                                                                                    Gathering together the best strands of Moodymann's late-'90s tracks on KDJ, Forevernevermore re-interprets these rare and sought after gems twisting and blending them into a new mesmerizing and idiosyncratic stew which offers new insight into these now classic retro-disco funk tracks. Containing unique and stone cold classics such as "Don’t You Want My Love", "Wednesday Night People" and "The Thief That Stole My Bad Days". Forevenevermore is perhaps Kenny’s most soulful full length and the sheer emotive nature of these tracks and their relatively down-tempo beats make this album more of a reflective listening experience on par with sentimental albums such as Marvin Gaye's Let's Get It On and Stevie Wonder's Talking Book than traditional house music.

                                                                                                                                                    The Mighty Mocambos

                                                                                                                                                    The Future Is Here (surf Blue Colour Vinyl)

                                                                                                                                                      The classic album of Germany's funk champions reissued on surf blue colour vinyl.

                                                                                                                                                      Original press release note from 2011:
                                                                                                                                                      After almost twenty 45s under various pseudonyms, their thrilling and hugely successful debut album with London-based singer Gizelle Smith and a tour with concerts throughout Europe, Germany's most prolific deep funk formation is ready to step further into the spotlight with their second longplayer.

                                                                                                                                                      The aptly titled THE FUTURE IS HERE sees the group explore new territories with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that has long gained international reputation.

                                                                                                                                                      Producer legend Kenny Dope (Masters at Work, Bucketheads) picked up the Mighty Mocambos's re-interpretation of the Furious Five classic "The Message" (released under a pseudonym on an obscure phantasy label without proper distribution), remixed it and re-released it on his own imprint Kay Dee Records. This album includes the original version of the "Next Message" – a message that apparently got heard and answered.

                                                                                                                                                      Afrika Bambaataa (the Godfather of Hip-Hop) and Charlie Funk (aka Afrika Islam, Grammy- and Oscar-decorated producer of Ice-T and original member of the Zulu Nation) loved the Mocambo vibe and joined the group on stage and in the studio to record "Zulu Walk" and "Battle", two stunning tracks of organic Funk that take Hip-Hop "back to the roots where we started out" (as featured MC King Kamonzi rightfully says) and along the way, leads funk into the future.

                                                                                                                                                      Keeping up with the universal spirit and ignoring boundaries of language in favour of the global groove, the Mocambos recorded "Physique", a rousing dancefloor smash sung in French by Caroline Lacaze. "The Sun Shines Tonight" is a cheerful party-in-the-studio session with original German funk and disco queen Su Kramer (who played with Donna Summer in the original cast of "Hair" during the late 1960s) that documents the pure joy of playing and spontaneity of a Mocambo live situation.

                                                                                                                                                      The 12 titles on this album showcase the group's collective determination, unified versatility and creative wit. From the drum-heavy, afro-tinged "Calling The Shots", the anthemic "Struggle & Triumph", the romantic melancholy of "French Vanilla Skies", the somber and frantic "Transcendental Express", to songs with an almost cinematic quality like the moody "A Brighter Darkness" and the horroresque "Paranormals Theme", the album offers a broad spectrum of colours, all held together by the unity of a band that has been playing together for years - recorded live in a few takes with simple analog equipment to capture the energy, chemistry and blind faith between dedicated musicians.

                                                                                                                                                      Piper

                                                                                                                                                      Sunshine Kiz

                                                                                                                                                        Riding high on the success of Gentle Breeze, PIPER was eager to put out more new material. Keeping the same members and guest musicians, the band used its excitement and forward momentum – aided no doubt by its ever-growing experience and taste for experimentation – to produce its next album, Sunshine Kiz, within the tiny span of six months. And despite seeing no change in personnel for these latest efforts, PIPER’s musicality was constantly evolving.

                                                                                                                                                        Perhaps most obviously, Sunshine Kiz showed the band beginning to break away from its signature style. Instrumentals were no longer the focus as more vocal-centric tracks made their way to the fore. Sunshine Kiz turned out to be a “song album,” and its lyric sheet saw a substantial increase in the number of words. A Drumulator replaced the LinnDrums, and the programmed percussion suddenly sounded more natural. Some songs actually featured live drumming, abandoning programmed beats altogether.

                                                                                                                                                        It could be said that this all amounted to, at least partially, a return to PIPER’s roots. Or, maybe more accurately, it was something like PIPER circa 1981 filtered through the signature sound the band had forged with their two Breeze albums of 1983. The title track on Sunshine Kiz was released as their second-ever single – their first since “Far Away” from their debut album. And with this new single there even came a music video.


                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: Exclusive pink vinyl with yellow splatter edition.
                                                                                                                                                        Includes 24×24 poster.

                                                                                                                                                        Charlie Parker

                                                                                                                                                        Jazz At Massey Hall

                                                                                                                                                          This release presents the complete widely celebrated Massey Hall concert, performed in Canada by an all-star quintet of bebop founders which would never be reunited again. It appears here in the actual order of performance and without the added bass and echo which darkened the sound quality of some issues. As a bonus, we present a version of “Bass-ically Speaking”. Although the track was recorded at a New York studio, Mingus originally included it, with dubbed applause, as part of the Massey Hall concert.

                                                                                                                                                          AllMusic “A legendary set, no matter how or when or where it’s issued.”

                                                                                                                                                          Penguin Guide to Jazz “The Massey Hall concert is a remarkable experience, not to be missed.” (Richard Cook & Brian Morton)

                                                                                                                                                          Charlie Parker & Dizzy Gillespie

                                                                                                                                                          Bird And Diz

                                                                                                                                                            This set contains the complete original LP Bird and Diz (Verve MGV-8006), consisting of a quintet session which marked Parker and Gillespie’s last studio date ever (although they would later be recorded together live on numerous occasions, including the celebrated 1953 Massey Hall concert). This session was also Parker’s only studio encounter with the great Thelonious Monk. Two further quintet sessions recorded by Bird for Verve during the same period, one of them featuring Miles Davis on trumpet, have been added as a bonus. Charlie Parker & Dizzy Gillespie / Bird And Diz

                                                                                                                                                            AllMusic: “This collection of 78 rpm singles, all recorded on June 6, 1950, was originally issued in album format in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-theline production quality. Even more interesting, though, is Parker’s choice of Thelonious Monk as pianist.” (Rick Anderson)

                                                                                                                                                            Charlie Parker, Alto Sax; Dizzy Gillespie, Trumpet Thelonious Monk, Piano; Curley Russell, Bass Buddy Rich, drums. New York, June 6, 1950. *BONUS TRACKS (16-26): 16-21: Charlie Parker (as), Miles Davis (tp), Walter Bishop Jr. (p), Teddy Kotick (b), Max Roach (d). New York, January 17, 1951. 22-26: Charlie Parker (as), Kenny Dorham (tp), Al Haig (p), Tommy Potter (b), Max Roach (d). New York, May 5 into May 6, 1949. All original sessions produced by Norman Granz.

                                                                                                                                                            Charlie Parker

                                                                                                                                                            Bird Of Paradise - Best Of The Dial Masters

                                                                                                                                                              Alto saxophonist Charlie Parker (1920-1955) was among the most influential jazz artists ever, and one of the few indisputable geniuses of his time. This set presents the complete master takes from his recording sessions for Ross Russell’s Dial label. Included here are some of Bird’s most admired sides, such as “A Night in Tunisia”, “Cool Blues” and “All the Things You Are”, as well as the troubled “Lover Man” session, after which the saxophonist suffered a mental breakdown. The masters from a 1945 Red Norvo date (Bird’s only existing encounter with pianist Teddy Wilson, reissued on Dial) are also contained here. Also issued on Dial was the so-called “Home- Cooking” date, an amateur recording made right after Bird left the Camarillo psychiatric hospital (the session is presented here in its entirety, including the complete version of “I Got Rhythm”. As a bonus, we have added two additional complete Charlie Parker sessions from the same period, which were originally issued under the names of Sir Charles Thompson and Sarah Vaughan. CHARLIE PARKER, alto sax, on all tracks, plus:

                                                                                                                                                              Collective Personnel: Dizzy Gillespie, Miles Davis, Howard McGhee (tp), J. J. Johnson (tb), Erroll Garner, Dodo Marmarosa, Duke Jordan, Teddy Wilson (p), Red Norvo (vib), Barney Kessel (g), Tommy Potter (b), Max Roach (d), among others. Recorded in California and New York, 1945-47

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: Limited edition green vinyl.

                                                                                                                                                              Kaidi Tatham

                                                                                                                                                              In Search Of Hope

                                                                                                                                                                From his earlier work with pioneering London production outfits like Bugz In The Attic, DKD, Silhouette Brown, Blakai, Likwid Biskit, Neon Phusion and Agent K, to his recent releases and collaborations with Dego and the extended 2000black family, Kaidi Tatham is one of the most quietly influential British artists of his time.

                                                                                                                                                                2008's 'In Search of Hope' is the second solo album from Tatham and the first under his own name. It pushes the musical boundaries of electronic and dance music in a way that is still rarely heard today. While the album retains its contemporary London influences, it allowed Tatham to stretch out musically in a way he hadn't done on record before. The majority of the album's tracks aren't in the standard 4/4 time signature that most contemporary dance music follows, and some switch between a handful of different time signatures over the course of a few minutes. In a way, the album could be viewed as Tatham's mission statement and a sign of what was to come from him as an artist: uncompromisingly and unapologetically sophisticated modern black music. His face melting virtuosity never gets in the way of coherent groove, melody, harmony and arrangement. Originally released on Tokyo based label Freedom School and recorded on a modest set up at his flat in south London, 'In Search of Hope' has become a holy grail record for dance music fans and jazz heads alike. Its mythical status is spurred on by the fact that it was unavailable digitally, until now, with physical copies fetching astronomical prices online, especially considering how recently it was released compared to other records that reach similar prices.

                                                                                                                                                                Morton Subotnick

                                                                                                                                                                Silver Apples Of The Moon - Vinyl Reissue

                                                                                                                                                                  MORTON SUBOTNICK's truly visionary electronic master piece "Silver Apples Of The Moon" on an audiophile 180gr LP, especially mastered for vinyl.

                                                                                                                                                                  As composer, musician and initiator of the San Francisco Tape Music Center which he co-founded with PAULINE OLIVEROS and RAMON SENDER in 1961, MORTON SUBOTNICK (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with DON BUCHLA on the development of the early synthesizer "Buchla Series 100" before moving to New York where the artist-in-residence at the newly established Tisch School Of The Arts of the New York University was enabled to set up his own studio. That's where SUBOTNICK's most popular work "Silver Apples Of The Moon" was commissioned by NONESUCH as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Till the current day this seminal album has not lost his visionary power, has since long been considered one of the essential milestones in electronic music with great effect on later generations of artists – starting from the cult formation SILVER APPLES to LAIKA who titled their debut "Silver Apples Of The Moon" too. Now for the first time since its original 1967 release, SUBOTNICK's masterpiece (which was selected for the Library Of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180gm LP that was cautiosly remastered for vinyl. Limited to 500 items worldwide!

                                                                                                                                                                  Razorcuts

                                                                                                                                                                  Storyteller

                                                                                                                                                                    Remastered and pressed on limited edition of only 200 colour vinyl copies Disc One on WHITE vinyl Disc Two on transparent PINK vinyl. 

                                                                                                                                                                    This limited edition set contains the original LP plus an 8 track bonus LP

                                                                                                                                                                    Includes a 16pp 12” x 12” colour booklet with sleeve notes by Popkiss author, Michael White & Tim Vass. Presented in a gatefold sleeve with reverse board printing

                                                                                                                                                                    Storyteller, which saw release in February of ’88, arguably is the best album to come from the generation of indie pop bands to which Razorcuts belonged. Most of their peers tended to falter beyond the convenient restrictions of singles and EPs, but Storyteller, whether by luck or design, hangs together as a complete work, not a moment of its 35 minutes wasted or excess to requirements. Indeed, there are few lovelier songs from that year than “Brighter Now,” “Jade,” and the title track. 


                                                                                                                                                                    Razorcuts

                                                                                                                                                                    The World Keeps Turning

                                                                                                                                                                      Remastered and pressed on limited edition of only 200 colour vinyl copies
                                                                                                                                                                      Disc One on WHITE vinyl Disc, Two on transparent GREEN vinyl. 

                                                                                                                                                                      This limited edition set contains the original LP plus an 8 track bonus LP Includes a 12pp 12” x 12” colour booklet with sleeve notes.

                                                                                                                                                                      Released in February 89 ‘The World Keeps Turning’ indeed seemed to represent a heroic refusal to fall in step with the times. From it’s cover illustration to it’s musical content, which was essentially a continuation of what had been so masterly achieved on Storyteller. Tim’s words coupled with Gregory’s melodies resulted in some of the loveliest songs in the Razorcuts catalogue


                                                                                                                                                                      Lamont Butler

                                                                                                                                                                      It's Time For A Change

                                                                                                                                                                        It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release, ‘It’s Time For A Change’ has been very popular for record collectors around the world but it never saw the wider success it truly deserved.

                                                                                                                                                                        Born 1949 in Louisville, Kentucky, Lamont Butler was drawn to music and dance from the very beginning. He was the son of well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what was required to be a touring musician. It quickly became apparent that Lamont had a wonderful voice and was pushed to the front, despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years, cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings, eventually going solo with Lamont Butler and The Spirit of Truth.

                                                                                                                                                                        It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together his influences from R&B, jazz, soul and of course gospel. The result is the very raw, almost low-fi sound of ‘It’s Time For A Change’, released nearly 10 years after Lamont started to pen the first tracks and gaining relative success. He toured the album around churches in Louisville, with tracks such as ‘Love One Another’,’ Time For A Change’ and ‘Ungodly War’ quickly becoming firm favourites.

                                                                                                                                                                        Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleevenotes.

                                                                                                                                                                        Jad Fair & Daniel Johnston

                                                                                                                                                                        It's Spooky (Reissue)

                                                                                                                                                                          Recommended If You Like: The Beatles, Satan, Half Japanese, Roky Erickson, Wesley Willis, Jandek, Moldy Peaches, Butthole Surfers. Limited pressing of 1500 on Casper White Vinyl 2LP + 7" Flexi, comes with Download Card. First time on vinyl in 30 years! Bonus Flexi-Disc features previously unreleased Daniel Johnston classic “I Live My Broken Dreams”. Gatefold jacket with printed innersleeves containing extensive liner notes from Everett True, Jeff Feuerzeig (The Devil & Daniel Johnston, director), Jad Fair and Kramer. Sound restoration and remastering by Kramer. 32 songs including bonus track “Ashes On The Ground”. I first heard Daniel in 1985. Half Japanese had a show in Austin and Daniel's manager Jeff Tartakov gave me a tape of "Hi How Are You?".

                                                                                                                                                                          I loved it and began corresponding with Jeff and Daniel. A few years later I was in NYC to take part in a recording session of Moe Tucker at Kramer's studio Noise New York. Daniel was at the studio and he and I became friends. Daniel recorded two songs with lyrics I wrote. He recorded "Do It Right" for Moe's album, and "Some Things Last A Long Time" for his album "1990". Soon after his time in NYC I invited him to my home and we had a week to record the songs for "It's Spooky". I considered Daniel to be a genius. I am so grateful to have had the opportunity to work with him. I'm so grateful to have it released again and it's sounding better than ever thanks to an amazing mastering job by Kramer. Jad Fair… "This is the sound of friendship, of love unfurling.” Everett True // “I never saw anything like the force-of-nature that was Daniel Johnston. Ever. And i'm sure I never again will. But there's more than just one force-of-nature in American music; Jad Fair is a hurricane unto himself.” Kramer 

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          2xColoured LP Info: Deluxe double 'Casper White' vinyl with 7" flexi-disc.

                                                                                                                                                                          The Durutti Column

                                                                                                                                                                          Vini Reilly - Expanded Edition

                                                                                                                                                                            Factory Benelux presents an expanded double vinyl edition of Vini Reilly, the acclaimed seventh studio album by Manchester ensemble The Durutti Column. 

                                                                                                                                                                            Produced by Vini Reilly and Stephen Street (The Smiths, Morrissey, Blur), the original working title of the Vini Reilly album was The Durutti Column Sampler. ‘People describe them as found samples and found voices,’ explained Vini at the time. ‘I always build up a catalogue of interesting loops and voice samples and stuff. Then I forget where I got them from a lot of the time, which is quite convenient… A lot of the time I manipulate the sample anyway, so it’s singing my tune, rather than the original tune.’

                                                                                                                                                                            Stand-out tracks include Otis, Love No More and My Country. ‘The tune always comes from playing the guitar,’ added Vini. ‘As soon as I pick a guitar up I’ll come up with a tune. I don’t know whether it’s good or bad - but there’s always a tune there.’

                                                                                                                                                                            The sleeve itself samples Bob Dylan circa Highway 61 Revisited, showcasing an iconic portrait by Mark Warner. Indeed much about the album flirts with mainstream culture, being a deliberate attempt to position Reilly as a ‘pop’ artist following his chart-topping collaboration with Morrissey on Viva Hate. This collaboration is further explored on the bonus 7” single, which features rare outtake I Know Very Well How I Got My Note Wrong and exquisite homage For Steven Patrick.

                                                                                                                                                                            Bonus tracks on this 2020 double-disc remaster include several never before issued on vinyl, including William B and Red Square from the extended CD version of Vini Reilly, plus all four tracks from pristine performance CD WOMAD Live. Recorded at the WOMAD Festival in Cornwall in August 1988, the core Durutti duo of Vini Reilly and Bruce Mitchell are here augmented by Andy Connell on keys and Chinese opera singer Liu Sola.


                                                                                                                                                                            The Wake

                                                                                                                                                                            Here Comes Everybody - 35th Anniversary Edition

                                                                                                                                                                              Factory Benelux presents a special 35th anniversary edition of Here Comes Everybody, the highly-regarded second album by Scottish group The Wake, originally released by Factory Records in 1985. Just 800 copies will be made available for Record Store Day on 18 April 2020, pressed in crystal clear vinyl with a bonus 7-inch single + digital copy.

                                                                                                                                                                              The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images. Joining Factory the following year, the group toured with New Order and released popular mini-album Harmony. Trailed by sprightly single Talk About the Past in 1984, second album Here Comes Everybody was eventually recorded as a trio, combining dreampop melodies and wistful lyricism typified by standout track O Pamela (later interpreted by artful French new wave covers project Nouvelle Vague).

                                                                                                                                                                              Praise for Here Comes Everybody: “Holds up as a touchstone for aching, atmospheric synth-pop, all slinky guitars, crispy percussion, textured keyboards and limber bass" (Pitchfork); “The album stands as a pillar of moody synth pop, still bearing passing resemblance to New Order while retaining the bounce of the Postcard label bands and the cavernous production of Closer-era Joy Division, covering it all in some of the heaviest synth wash this side of Klaus Schulze" (Dusted)

                                                                                                                                                                              Newly re-mastered for this special 35th anniversary edition, the original 8 track album is now augmented by companion singles Talk About the Past and Of the Matter, pressed on a bonus 7-inch single in a picture sleeve. Here Comes Everybody itself is pressed on clear vinyl, housed in a white reverse board sleeve with printed inner bag containing lyrics, images and liner notes by band members Carolyn Allen and Caesar.


                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              Coloured LP Info: 800 copies pressed on crystal clear vinyl with a bonus 7-inch single + digital copy.

                                                                                                                                                                              Lapre

                                                                                                                                                                              Banzai (Elektronische Musik Aus Berlin 1985 - 87)

                                                                                                                                                                                Rudolf Langer (formerly of Tyndall) and Peter Preu teamed up to create Lapre as a vehicle for their adventures in sonic experimentation. They set about capturing their nocturnal rehearsal room sessions on tape, Langer on synthesizer and Preu on guitar. With the exception of a solitary single and a few extremely limited cassette runs, Lapre released no further material during their active phase. It was not until 2018 that their works became accessible to a wider audience, when Bureau B released the Auferstehung retrospective, drawing on tracks from 1983 to 1984.? Banzai, the second collection of Lapre recordings, follows up by concentrating on their creative output from the years 1985 to 1987. A well-kept secret at the time of its inception, this music was barely audible beyond the borders of Berlin's underground scene. It thus gives us great pleasure to give these tracks the attention they ultimately deserve, more than 30 years later.

                                                                                                                                                                                Redd Kross

                                                                                                                                                                                Phaseshifter

                                                                                                                                                                                  Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late ‘70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical “Posh Boy” EP in 1980 when they were just 17 and 13 respectively. The “Posh Boy” EP features Black Flag’s 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar.

                                                                                                                                                                                  1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson’s Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing 7 studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs.

                                                                                                                                                                                  What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along…..maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome.

                                                                                                                                                                                  40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
                                                                                                                                                                                  The brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gene Fennelly on 1993’s Phaseshifter. Redd Kross leaves the ‘60s and ‘70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk/bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like Crazy World, Dumb Angel, Pay For Love and After School Special.

                                                                                                                                                                                  Redd Kross

                                                                                                                                                                                  Show World

                                                                                                                                                                                    Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late ‘70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical “Posh Boy” EP in 1980 when they were just 17 and 13 respectively. The “Posh Boy” EP features Black Flag’s 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar.

                                                                                                                                                                                    1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson’s Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing 7 studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs.

                                                                                                                                                                                    What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along…..maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome.

                                                                                                                                                                                    40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
                                                                                                                                                                                    Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, Pretty Please Me, and sets the tone for yet another killer album by the thinking person’s good time band.

                                                                                                                                                                                    Like all RK albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader.

                                                                                                                                                                                    Various Artists

                                                                                                                                                                                    DJ Kicks - Kemistry & Storm

                                                                                                                                                                                      To celebrate 25 years of the legendary series, KEMISTRY & STORM DJ-Kicks is re-mastered and re-issued for the first time since it's original release in 1999 on CD and 2LP.

                                                                                                                                                                                      It all began in the late 80s: KEMISTRY & STORM had had enough of their hometown in middle England and moved down to London. Until then, Birmingham-born Kemistry had spent most of her tender years studying as a make-up artist in Sheffield while Storm was studying radiology in Oxford. The pair discovered acid house in London, partied at illegal warehouse raves, and at the end of the 80s stumbled upon ‘Rage’, Fabio and Grooverider’s legendary and influential club night at Heaven, which can be legitimately dubbed as the origin of the entire Breakbeat/Jungle/Hardcore/Drum ‘n’ Bass movement. This is where they decided to dedicate their future entirely to music – as DJs.

                                                                                                                                                                                      The Who’s Who of 90's British Drum ‘n’ Bass producers abounds on DJ-Kicks, and with Goldie, Dom + Roland, Digital, DJ Die, Johnny L and J Majik, features old friends of KEMISTRY & STORM. Any trainspotter can see that with labels like Metalheadz, Full Cycle, XL, Test, Renegade Hardware or Formation, the duo work their way through a range of the most diverse styles, and make DJ-Kicks an exciting testament to contemporary Breakbeat culture.

                                                                                                                                                                                      Mike Westbrook

                                                                                                                                                                                      Love And Understanding : Citadel / Room 315 Sweden '74

                                                                                                                                                                                        The original RCA recording of 'Citadel/Room 315' is an hour-long suite of eleven tracks, beautifully composed and arranged by Mike Westbrook that is rightly considered to be one of the high-points of Brit-jazz from that era. Mike was commissioned by Sveriges (Swedish) Radio to write the work with Surman as lead soloist. He then travelled to Sweden to perform and conduct it for the first time, live in concert. This recording has never been released until now and presents a wildly different recording to the later LP, the rawness and freedom of the playing contrasting strongly with the more polished studio album.

                                                                                                                                                                                        Surman - playing baritone and soprano saxophone, plus bass clarinet - is in sumptuously freewheeling form throughout, soaring between wild expression and wonderfully controlled playing, perfectly complimenting Mike's compositions that gracefully move from jazz-rock, ballads, to tightly composed orchestral themes and more avant-garde moments. Backed by the 16-piece Swedish Radio Jazz Group led by saxophonist Arne Domnérus and Argentinian trumpeter Americo Bellotto, the group comprised the finest players on the Swedish scene, including trumpeters Jan Allan and Bertil Lövgren, guitarist Rune Gustafsson, pianist Bengt Hallberg and drummer Egil Johansen. Between them they had worked with everyone from George Russell and Stan Getz, to Monica Zetterlund and Jan Johansson.

                                                                                                                                                                                        Everything But The Girl

                                                                                                                                                                                        Temperamental (2019 Half Speed Master)

                                                                                                                                                                                          Following on from the recent and well received half-speed masters of ‘Amplified Heart’ and ‘Walking Wounded’, Buzzin’ Fly are proud to release EBTG’s 1999 album ‘Temperamental’.

                                                                                                                                                                                          The album is a follow on from the global success of Walking Wounded in 1996 and features a myriad of rhythmic pop styles, including deep house grooves, fierce drum & bass and hip-hop infused funk. It contains the singles Five Fathoms, Blame and the title track Temperamental.

                                                                                                                                                                                          The original vinyl was released on a limited edition ‘DJ friendly’ vinyl which is now a collectable item. The artwork for this new edition has been re-created from the original source material to bring it in line with the original CD version. Like the previous two releases, it has been Mastered and Cut at half-speed by Miles Showell at London’s Abbey Road Studios.

                                                                                                                                                                                          Oneness Of Juju

                                                                                                                                                                                          Chapter Two : Nia

                                                                                                                                                                                            Limited edition, one time pressing. Essential Spiritual Jazz originally issued on the lauded Strata-East label. Magical, mystical, Afrocentric, progressive – words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, its sound pure. It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created

                                                                                                                                                                                            Piper

                                                                                                                                                                                            Summer Breeze

                                                                                                                                                                                              Led by guitarist/vocalist Keisuke Yamamoto, Piper was formed in Hamamatsu in Shizuoka Prefecture. A move to Tokyo was followed by the release of their first single on Yupiteru Records, thanks to original guitarist Yuji Suzuki who had became an A&R man for the label. Citing British bands like Wishbone Ash and Camel as influences, Yamamoto and Piper nevertheless conjured up classic American sounds on Piper’s recordings, utilizing unusual recording techniques and new technologies like Linn drums to effortlessly blend styles of funk, soul and fusion and simultaneously evoking summer vibes, autumnal breezes, and wintery shimmer.

                                                                                                                                                                                              Summer Breeze is Piper’s second album, originally released in 1984 on Yupiteru. Inspired by the sounds of Masayoshi Takanaka and Tatsuro Yamashita, as well as the concept of “BGM” (background music) championed by YMO, Summer Breeze was a conscious about face from their debut to create a new signature sound and become masters of summery resort vibes. Its smooth sounds belie the bevy of experimentation utilized on the recording, from vocoders and drum programming to recording guitars direct through the board. Even the iconic cover art, with the surfer wearing an impossibly short crop top, is deceiving in its simplicity – it was one of the most expensive jackets produced by the label at the time, due to its use of special spot colors and custom handlettering. The original album featured the marketing copy “Good Weather! Good Sounds!” which perfectly encapsulates the sounds contained on the album.


                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                              Ltd LP Info: Newly Remastered for Vinyl.
                                                                                                                                                                                              LP Includes Huge 24" x 24" Fold Out Poster.

                                                                                                                                                                                              Invisible City Editions reissues a selection of classic street soul tunes from the legendary duo Soul Connection (Toyin Agbetu and Earl Myers). A mix of well loved tracks from Soul Connection's 1988 "Rough & Ready" and 1990 "Raw Street Soul", remastered from the original master reels. This one has been a long time in the making and we are really excited to finally put it out!

                                                                                                                                                                                              You’d be hard pressed to find a more central figure to the story of ’80s UK Street Soul than Toyin Agbetu. A former computer programming prodigy turned musician/artist/producer, Agbetu was one of the principals in the development of a sound that merged the playful romance of soul music with the DIY ethos and raw, drum machine-driven beats of hip-hop and other burgeoning underground movements of the time. With his London-based independent record label, Unyque Artists, and a studio HQ-ed out of his Hackney bedroom, Toyin would embark on a remarkably prolific run as a producer and artist under a myriad of aliases and pseudonyms on associated spin-off labels. One such project was Soul Connection – a collaboration with friend and fellow indie label head Earl Myers that, despite its low-key bordering on phantom profile, yielded two albums, Rough and Ready (1988) and Raw Street Soul (1990) released on UA affiliate Intrigue Records. Though both LPs were well received upon initial release, the years since have only increased their stature amongst fans of elusive grooves. As evidenced by the six beloved tracks collected on Invisible City Editions’ Street Soul EP, Soul Connection’s addictively simple hooks, punchy mid-tempo rhythms, and forays into breakbeat and house remain as easy to appreciate as ever.

                                                                                                                                                                                              Includes 8 page booklet with an interview from Jeff “Chairman” Mao.

                                                                                                                                                                                              GAS

                                                                                                                                                                                              Oktember

                                                                                                                                                                                                OKTEMBER - the 1999 mythical mini-album from GAS, reissued on 180 gram in its original artwork. A monumental soundtrack to uncertain times.

                                                                                                                                                                                                OKTEMBER is the second EP release under Wolfgang Voigt’s mythical GAS project. Originally released in 1999 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, OKTEMBER is now released on his own label KOMPAKT on 180 gram LP vinyl in its original artwork. This reissue features the single “Tal ‘90“ – originally released as a part of the Pop Ambient 2002 collection.

                                                                                                                                                                                                This two-track long player starts with A-Side “Tal 90”. Sampled strings and guitars soundtrack a more uplifting side to what is typically accustomed to being the sound of GAS. The title track “Oktember” is a dense, hypnotic affair that conjures a unique vision of dub techno that few have been able to replicate.

                                                                                                                                                                                                A monumental soundtrack to uncertain times.


                                                                                                                                                                                                Carpenters

                                                                                                                                                                                                Close To You

                                                                                                                                                                                                  Reissue of the 2nd studio album by the American duo The Carpenters. It contains their first two major hits: “We’ve Only Just Begun,” and the classic Bacharach/David standard “Close to You.” Ranked as #175 on Rolling Stone Magazine’s list of the 500 greatest albums of all time, this 1970 pop masterpiece topped the Canadian Albums Chart and peaked at #2 on the US Billboard albums chart.

                                                                                                                                                                                                  Oneness Of Juju

                                                                                                                                                                                                  African Rhythms

                                                                                                                                                                                                    Oneness of Juju’s Debut. Magical, mystical, Afrocentric, progressive words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, its sound pure. It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing.

                                                                                                                                                                                                    Louis Armstrong

                                                                                                                                                                                                    1926-1968: The Essential Works

                                                                                                                                                                                                      Louis Armstrong is one of the most important jazz musicians. He belongs to those who transformed the local music scene born in the Southern States of the United States - around New Orleans - into an international language.

                                                                                                                                                                                                      It was in the 1920s, in Chicago, that he recorded his first records with His Hot Five and His Hot Seven. His personality and his natural enthusiasm, combined with his talent as a trumpet player and singer, helped him pave his way to success.

                                                                                                                                                                                                      He traveled the United States with his orchestra throughout the 1930s and the 1940s, and appeared on television sets from all around the world throughout the 1950s and the 1960s. In five decades, Armstrong's music had evolved into jazz music, then known as a familiar universal language, popular on five continents.

                                                                                                                                                                                                      The four sides of this double album revive the history of jazz, from "Muskrat Ramble" to "Hello Dolly".

                                                                                                                                                                                                      Oneness Of Juju

                                                                                                                                                                                                      Space Jungle Luv

                                                                                                                                                                                                        Oneness of Juju’s Cosmic Second Album. Featuring Joe Bonner. Magical, mystical, Afrocentric, progressive – words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, its sound pure. It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing.

                                                                                                                                                                                                        Television Personalities

                                                                                                                                                                                                        And Don't The Kids Just Love It (30th Anniversary Edition)

                                                                                                                                                                                                          Ahead of its time, ‘And Don’t The Kids Just Love It’ was Television Personalities’ influential debut album released in 1981 and features ‘I Know Where Syd Barrett Lives’. The legendary lofi release sees them produce British inspired 60s pop and post-punk that captured the period and ‘sounds remarkably prescient’ (Pitchfork’s Best 100 albums of the 1980s). With the formidable Daniel Treacy at its core, Television Personalities remain one of new wave’s longest serving and seminal artists with a career spanning over three decades. The indie visionaries directly influenced virtually every major pop uprising of the period including artists as diverse as The Jesus and Mary Chain, Pavement and Creation’s Alan McGee. “They provided the inspiration and motivation for me to start the label.” Alan McGee, Creation Records.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Limited Edition red vinyl edition.

                                                                                                                                                                                                          Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                          The Underground Youth

                                                                                                                                                                                                          Sadovaya - Reissue

                                                                                                                                                                                                            Coloured Vinyl (White) repress Ltd to 500 on standard weight. "The Underground Youth blend the sounds of shoegaze, post-punk and psychedelic rock with their own hauntingly beautiful twist." The Underground Youth is the name under which Manchester’s underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, The Underground Youth, with Craig and Olya Dyer as the core of the band, have expanded to a four piece, gaining a solid international fanbase and touring all around the UK and Europe. Gideon Coe has spinned their single “Juliette” on BBC6 and they took part to the “Reverb Conspiracy – Volune One”, curated by Fuzz Club and Austin Psych Fest. In June, they rocked up the Eindhoven Psych Lab and they are set to headline Paris Psych Fest in July. Drown In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”

                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                            LP Info: Limited White vinyl repress.

                                                                                                                                                                                                            Ariel Pink

                                                                                                                                                                                                            The Doldrums

                                                                                                                                                                                                              Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti. Ariel Archives Cycle 2 is comprised of The Doldrums, Worn Copy and House Arrest - representing Ariel Pink’s most classic recordings as Ariel Pink’s Haunted Graffiti, the name used for his one-man recording venture between 1999 – 2004. Each release has been restored from the original cassette masters, which have been retransferred and remastered from single-track sources. The first volume of Ariel Archives featured new editions of Loverboy and Underground, plus a long-awaited follow up volume of rare and unheard tracks titled Oddities Sodomies Vol. 2.

                                                                                                                                                                                                              Ariel Pink

                                                                                                                                                                                                              Worn Copy

                                                                                                                                                                                                                Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti. Ariel Archives Cycle 2 is comprised of The Doldrums, Worn Copy and House Arrest - representing Ariel Pink’s most classic recordings as Ariel Pink’s Haunted Graffiti, the name used for his one-man recording venture between 1999 – 2004. Each release has been restored from the original cassette masters, which have been retransferred and remastered from single-track sources. The first volume of Ariel Archives featured new editions of Loverboy and Underground, plus a long-awaited follow up volume of rare and unheard tracks titled Oddities Sodomies Vol. 2.

                                                                                                                                                                                                                Ariel Pink

                                                                                                                                                                                                                House Arrest

                                                                                                                                                                                                                  Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti. Ariel Archives Cycle 2 is comprised of The Doldrums, Worn Copy and House Arrest - representing Ariel Pink’s most classic recordings as Ariel Pink’s Haunted Graffiti, the name used for his one-man recording venture between 1999 – 2004. Each release has been restored from the original cassette masters, which have been retransferred and remastered from single-track sources. The first volume of Ariel Archives featured new editions of Loverboy and Underground, plus a long-awaited follow up volume of rare and unheard tracks titled Oddities Sodomies Vol. 2.

                                                                                                                                                                                                                  Sugar

                                                                                                                                                                                                                  Copper Blue - Vinyl Reissue

                                                                                                                                                                                                                    Fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould, Sugar burst on to alternative rock scene in 1992 with their debut album Copper Blue. 

                                                                                                                                                                                                                    Includes the singles ‘If I Can’t Change Your Mind’, ‘Changes’ and ‘Helpless’ along with fan favourites such as ‘Hoover Dam’

                                                                                                                                                                                                                    Along with reaching the top ten in the UK albums chart, Copper Blue was voted the ‘1992 Album Of The Year’ by the NME and has continued to receive acclaim and a cult following almost three decades later.

                                                                                                                                                                                                                    For the first time, the album is presented on heavyweight 180g clear vinyl.

                                                                                                                                                                                                                    Sugar

                                                                                                                                                                                                                    Beaster - Vinyl Reissue

                                                                                                                                                                                                                      Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould.

                                                                                                                                                                                                                      After the resounding success of their debut album Copper Blue, Sugar followed up with the Beaster EP in 1993. Unlike the pop sound of their previous release, Beaster found the group experimenting with a much darker, heavier sound.

                                                                                                                                                                                                                      Highlights include ‘Tilted’ which Stereogum hailed as “possibly the best song in Mould's entire catalogue” and the epic ‘JC Auto’ described by Pitchfork as ranking with ‘anything on In Utero in terms of sheer force’.

                                                                                                                                                                                                                      The EP became the group’s highest charting release when it reached #3 in the UK album charts in April 1993.

                                                                                                                                                                                                                      For the first time, the EP is presented on heavyweight 180g clear vinyl.

                                                                                                                                                                                                                      Sugar

                                                                                                                                                                                                                      File Under: Easy Listening - Vinyl Reissue

                                                                                                                                                                                                                        Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould.

                                                                                                                                                                                                                        Released in 1994, File Under: Easy Listening is the group’s second and final full length studio album. Includes the singles ‘Gee Angel’, ‘Your Favourite Thing’ and ‘Believe What You’re Saying’.

                                                                                                                                                                                                                        Following on from their successful debut release Copper Blue and critically acclaimed EP Beaster, ‘FU:EL’ found the group continuing to experiment with dark textures and pop melodies.

                                                                                                                                                                                                                        The album became Sugar’s third top ten release in the UK album charts and continues to draw a cult following today.

                                                                                                                                                                                                                        For the first time, the album is presented on heavyweight 180g clear vinyl.

                                                                                                                                                                                                                        Sugar

                                                                                                                                                                                                                        The Joke Is Always On Us, Sometimes - Vinyl Reissue

                                                                                                                                                                                                                          Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould.

                                                                                                                                                                                                                          Recorded at the legendary First Avenue in Minneapolis, November 1994, The Joke Is Always On Us, Sometimes captures Sugar during their ‘File Under: Easy Listening’ tour.

                                                                                                                                                                                                                          Includes live renditions of classic tracks including ‘If I Can’t Change Your Mind’, ‘Hoover Dam’ and ‘The Slim’.

                                                                                                                                                                                                                          For the first time, the album is presented on heavyweight 180g clear vinyl.

                                                                                                                                                                                                                          Sugar

                                                                                                                                                                                                                          Besides - Vinyl Reissue

                                                                                                                                                                                                                            Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould.

                                                                                                                                                                                                                            First released in 1995, Besides is a collection of B-sides, remixes and live versions. Highlights include a live rendition of ‘JC Auto’, the rare studio recording of ‘Clownmaster’ and a cover of the Who’s ‘Armenia City in the Sky’.

                                                                                                                                                                                                                            Issued on heavyweight 180g clear vinyl for the first time.

                                                                                                                                                                                                                            Loved is the third album by the British band Cranes, released in 1994. Elements of alternative rock, shoegaze, dream-pop and darkwave are mixed in their attractive music. Their gothic elements made a return, while they retained the feeling of their previous album Forever. It was another artistic experience, with nicely orchestrated and constructed songs. Loved gives the title all the credits, as it is an album which shows most of their feelings and emotions. Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.

                                                                                                                                                                                                                            Ian Willson

                                                                                                                                                                                                                            Straight From The Heart

                                                                                                                                                                                                                              Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours. You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

                                                                                                                                                                                                                              Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk). The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

                                                                                                                                                                                                                              Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record. Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982. A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together. Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears. And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

                                                                                                                                                                                                                              When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP. The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

                                                                                                                                                                                                                              Nina Simone

                                                                                                                                                                                                                              The Amazing Nina Simone

                                                                                                                                                                                                                                Nina Simone made her first trip into the studio in New York during 1957 to record her debut album Little Girl Blue. Simone would not record again for two years.

                                                                                                                                                                                                                                She signed a contract with the New York-based label Colpix Records in 1959, with whom she recorded her second album, The Amazing Nina Simone (Colpix SCP407). The LP, presented here in its entirety along with four tunes that complete the session but were not included on the original album, features her singing (and playing a little piano) with an orchestra under the direction of Bob Mersey. Seven further bonus tracks have been added, among them four tunes issued as Colpix singles during the same period, an outstanding live version of “Nobody Knows You When You’re Down and Out”, and her unforgettable “My Baby Just Cares for Me.”

                                                                                                                                                                                                                                Nina Simone, vocals & piano Orchestra conducted & arranged by Bob Mersey New York, May 1959. Original sessions produced by Hecky Krasnow.

                                                                                                                                                                                                                                Dead Prez

                                                                                                                                                                                                                                Let's Get Free

                                                                                                                                                                                                                                  Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy / Roc-AFella era of nihilistic excess in the late ‘90s, Dead Prez also signed to a major label (Loud / Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990s. By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian.

                                                                                                                                                                                                                                  After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free. The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

                                                                                                                                                                                                                                  But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000s peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

                                                                                                                                                                                                                                  The Heptones

                                                                                                                                                                                                                                  Back On Top

                                                                                                                                                                                                                                    Original album released 1983. Now rereleased on 180 gram RED vinyl + inner bag with comprehensive sleeve notes.

                                                                                                                                                                                                                                    Musicians - The Roots Radics: Bass: Errol ‘Flabba’ Holt & Robert ‘Robbie’ Shakespeare Drums: Lincoln Valentine ‘Style’ Scott Lead Guitar: Eric ‘Bingy Bunny’ Lamont Rhythm Guitar: Eric ‘Bingy Bunny’ Lamont Piano: Wycliffe ‘Steely’ Johnson & Winston ‘Brubeck’ Wright

                                                                                                                                                                                                                                    Sven Libaek

                                                                                                                                                                                                                                    Inner Space

                                                                                                                                                                                                                                      Sven Libaek’s 'Inner Space' is, simply put, one of the most legendary soundtrack recordings in the history of Australian music. Released in 1973, soundtracking a documentary series on underwater life by Ron & Valerie Taylor, it now stands proud as a key album of ‘underwater music’, one of the most rightly and righteously revered fields within soundtrack and library music circles. Endlessly inventive, gorgeously melodic, at times oceanic, at times amphibian, at other times in some mysterious pelagic zone, Inner Space sits proudly alongside such classic underwater soundtracks and libraries as Egisto Macchi’s Fauna Marina, the Sonoton Underwater Music series, the Ittologia and Biologia Marina twin-set, and Danielle Patucchi’s 'Men Of The Sea', Alla Scoperti Del Mare and Uomini E Squali. Considered to be one of the unsung masters of Australian Film music, Sven Libaek composed for many Australian Films and TV series in 1960’s and 70’s. 'Inner Space' is considered amongst his finest. Featuring the best Australian jazz musicians including Don Burrows, John Sangster, George Golla and Errol Buddle, they masterfully range from the incidental to the improvisational as they create a whirlpool of sublime aquatic jazz exotica. Notably, in 2004 the soundtrack had a second lease on life when several tracks were used in the Wes Anderson film. ‘The life aquatic with Steve Zizzou’.

                                                                                                                                                                                                                                      Kaytranada presents his highly anticipated debut album ‘99.9%’ via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes.

                                                                                                                                                                                                                                      Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, “after he showed me the basics, from that day on I couldn’t stop making beats,” pumping out a handful of tracks per day for the next couple of years.

                                                                                                                                                                                                                                      Single releases like ‘Drive Me Crazy’ with Vic Mensa and ‘Leave Me Alone’ with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound; an undeniable swing of the drums comparable to Dilla’s, a signature soulful touch in the melodies and a healthy dose of funky basslines.

                                                                                                                                                                                                                                      Spread across a wide range of genres including house, bass, hip hop and R&B, '99.9% continues that tradition. The album features a wealth of guest talent, including acclaimed percussionist / producer Karriem Riggins, rising Toronto vocalist River Tiber, UKG favourite Craig David, AlunaGeorge, Badbadnotgood, Anderson .Paak, Little Dragon and many more.

                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                      Matt says: Following ley-lines laid by Anderson.Pak and Kendrick Lamar, Kaytra takes musical genres and flips them on their head - taking the gangstas out of hip-hop and adding the raving club-goer to pop music. The result is an album both welcoming and challenging in equal measure.

                                                                                                                                                                                                                                      Art Brut

                                                                                                                                                                                                                                      Bang Bang Rock And Roll

                                                                                                                                                                                                                                        Art Brut re-release their seminal 2005 album Bang Bang Rock and Roll on limited edition gold vinyl, and it still sounds as fresh as ever. Currently sharing stages with The Subways, and in the form of their lives - this historic glance back reminds us all where it all started. Legendary!

                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                        Coloured LP Info: Limited gold vinyl edition.

                                                                                                                                                                                                                                        Hans-Joachim Roedelius

                                                                                                                                                                                                                                        Tape Archive Essence 1973-1978

                                                                                                                                                                                                                                          During the legendary Forst years Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door now and again. Here he experimented, practised, allowed his imagination to flow, at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening

                                                                                                                                                                                                                                          For the first time ever this Roedelius audio sketchbook had been digitalised and available to the public in 2014 on a limited (500 units only) 3-LP box set called "Roedelius Tape Archive 1973-1978". The recordings offer us a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, studies in rhythm are also preserved on these magnetic tapes. Since the box set has been sold out for a long time, we decided to release the essence of those 3 LPs on a 1 LP compilation: "Roedelius Tape Archive Essence 1973-1978".

                                                                                                                                                                                                                                          Wall Matthews

                                                                                                                                                                                                                                          Spine River:The Guitar Music Of… 1967-1981

                                                                                                                                                                                                                                            Guitarist Wall Matthews is surviving member of experimental 70's collective, Entourage. Sampled by Four Tet, their name whispered in reverence through the decades, Entourage forged bold musical ideas on their two rare ’70s Folkways LPs. Tompkins Square released 'Ceremony of Dreams : Studio Sessions and Outtakes, 1972-1977', in 2017 to wide acclaim. 'Spine River : The Guitar Music of Wall Matthews, 1967-1981' is a collection of unreleased or obscure music by the master guitarist. This volume will be released as a limited edition LP, along with four other digital volumes of Wall's music, chronologically mapping his career. Praise for Entourage : "A three-hour stream of instrumental riches, whether you’re looking to find samples or get lost in a trance....

                                                                                                                                                                                                                                            These 30 tracks alternately conjure the ecstatic minimalism of John Cale and La Monte Young, the billowing clouds of Arvo Part, the aleatory intrigue of Derek Bailey, and the strange guitar beauty of Sandy Bull" – Pitchfork "As seriously as they clearly took their playing, the music never lost its sense of playfulness and joy" - PASTE (8.7/10) "This is essential and irresistible vintage American weirdness." - All Music Guide (4.5) "...it's transporting stuff." - Rolling Stone "Erring between Alice Coltrane-esque spiritual jazz, Steve Reich’s minimalism and stunning instrumental folk, Ceremony of Dreams highlights 30 tracks from a fiercely creative period between 1972 and 1977 that did not appear on the two Folkways albums released at the time." - Vinyl Factory "New age gongs, drones, sax, pastoral guitar, scraped violas … Think Third Ear Band's druid rock meets early Popol Vuh with the obvious chops of a less slick Weather Report" - Record Collector (4 stars)

                                                                                                                                                                                                                                            Nightmares On Wax

                                                                                                                                                                                                                                            Smokers Delight - 25th Anniversary Edition

                                                                                                                                                                                                                                              Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

                                                                                                                                                                                                                                              If you don't own a copy of this LP, you should get one right now because it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

                                                                                                                                                                                                                                              Basil Kirchin

                                                                                                                                                                                                                                              Everyday Madness

                                                                                                                                                                                                                                                Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

                                                                                                                                                                                                                                                HISTORY:
                                                                                                                                                                                                                                                The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

                                                                                                                                                                                                                                                “Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

                                                                                                                                                                                                                                                “Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept.

                                                                                                                                                                                                                                                “The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

                                                                                                                                                                                                                                                Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

                                                                                                                                                                                                                                                More reel discoveries will follow. Thanks for listening as always. 


                                                                                                                                                                                                                                                Marvin Gaye

                                                                                                                                                                                                                                                More Trouble

                                                                                                                                                                                                                                                  More Trouble is a collection of bonus tracks and alternate takes from Marvin Gaye’s Trouble Man sessions taken from the Trouble Man: 40th Anniversary Expanded Edition. These track will be on vinyl for the first time. 


                                                                                                                                                                                                                                                  Ennio Morricone

                                                                                                                                                                                                                                                  Four Flies On Grey Velvet (4 Mosche Di Velluto Grigio) - OST

                                                                                                                                                                                                                                                    Manic percussion, tense staccato strings, discordant piano riffs, and jazz-rock motifs – this is Il Maestro at his finest. Death Waltz Recording Company is proud to present the definitive release of Ennio Morricone’s score to Dario Argento’s 1972 giallo classic Four Flies On Grey Velvet (a.k.a. 4 mosche di velluto grigio). Based around a psychologically embattled rock musician who finds himself in extraordinarily mysterious circumstances, Argento’s third film (as well as the last offering of his “Animal Trilogy”) is an excellent example of what the genre has to offer – a true Italian thriller/horror film that is sure to please any discerning genre film aficionado.

                                                                                                                                                                                                                                                    This superb offering by Maestro Morricone, with orchestration by the legendary Bruno Nicolai, features everything a fan of the weird, avant-garde, and macabre could want, including hauntingly beautiful vocals by renowned Italian singer, Edda Dell’Orso. Take heed, dear friends, for a bevy of sublime sonic sounds will undoubtedly delight your ears. Perfect for late night listening or for DJing out to an audience of (cult)ivated and dedicated cinephiles, this soundtrack is a beauty to behold. Stunningly packaged with retina pleasing artwork, see how many flies you can spot …on grey velvet.


                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                    2xColoured LP Info: Clear vinyl.

                                                                                                                                                                                                                                                    The Monochrome Set

                                                                                                                                                                                                                                                    Strange Boutique

                                                                                                                                                                                                                                                      The casual prose of pop history is full of backhanded compliments, and The Monochrome Set have received a few, ranging from "should have been massive" to "influential", numbering the likes of Morrissey and Marr, Blur's Graham Coxon and Franz Ferdinand's Alex Kapranos among their celebrity admirers. . Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

                                                                                                                                                                                                                                                      The Monochrome Set

                                                                                                                                                                                                                                                      Love Zombies

                                                                                                                                                                                                                                                        Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

                                                                                                                                                                                                                                                        Patrice Rushen

                                                                                                                                                                                                                                                        Posh

                                                                                                                                                                                                                                                          The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, ‘Patrice’ and ‘Pizzazz’. “I was lucky to have a group of musicians that I knew well by the time of these recording sessions,” remembers Patrice. “I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A.”

                                                                                                                                                                                                                                                          Tracks include the singles ‘Don’t Blame Me’, ‘Look Up!’ and ‘Never Gonna Give You Up’. “’Never Gonna Give You Up’ came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.’s music scene and that groove came out of those jams. With ‘The Dream’, I had been listening to Minnie Riperton’s ‘Come To My Garden’, one of my favourite albums. With Charles Stepney’s arrangements, I saw that he didn’t have to use large instrumentation to be orchestral in his approach. So, ‘The Dream’ was a homage to that kind of writing.”

                                                                                                                                                                                                                                                          “After ‘Posh’, we had a much better idea from the performance side what was important in our music and that informed my next album, ‘Straight From The Heart’. We took a little break after ‘Posh’ was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music.”


                                                                                                                                                                                                                                                          Tom Misch

                                                                                                                                                                                                                                                          Beat Tape 1

                                                                                                                                                                                                                                                            Beat Tape 1 marks Tom Misch's first official release of his instrumental beats, which combine elements of jazz, soul and grooves all heavily inspired by Toms love for J Dilla.

                                                                                                                                                                                                                                                            Composed, Performed and Mixed by Tom Misch.

                                                                                                                                                                                                                                                            Spanning over 19 tracks, the mixtape also includes a brand new, never heard before track 'Marrakech'.

                                                                                                                                                                                                                                                            Waxahatchee

                                                                                                                                                                                                                                                            Cerulean Salt

                                                                                                                                                                                                                                                              Reissue of the second Waxahatchee album.

                                                                                                                                                                                                                                                              On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing.

                                                                                                                                                                                                                                                              On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostaglic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. And whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production. At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”. There’s plenty of American Weekend’s instrospection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison (of Swearin’) singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date.

                                                                                                                                                                                                                                                              Waxahatchee

                                                                                                                                                                                                                                                              American Weekend

                                                                                                                                                                                                                                                                Debut album from Waxahatchee aka Katie Crutchfield. The Brooklyn via Alabama artist brings ‘just guitar, her voice, and a piano to tell stories.’ 

                                                                                                                                                                                                                                                                The 11 songs were recorded in a span of seven days on an 8-track recorder.

                                                                                                                                                                                                                                                                Marcos Valle

                                                                                                                                                                                                                                                                Marcos Valle - Reissue

                                                                                                                                                                                                                                                                  Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Includes the Brazilian boogie anthem 'Estrelar', Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career. The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork and pressed on 180g vinyl. 

                                                                                                                                                                                                                                                                  Rowland S. Howard

                                                                                                                                                                                                                                                                  Teenage Snuff Film

                                                                                                                                                                                                                                                                    Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                    Coloured LP Info: Limited blue vinyl.

                                                                                                                                                                                                                                                                    Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                    Molchat Doma

                                                                                                                                                                                                                                                                    С КрышНашихДомов

                                                                                                                                                                                                                                                                      When S KryshNashikhDomov the debut album by MolchatDoma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

                                                                                                                                                                                                                                                                      MolchatDoma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: MolchatDoma creates a sound and meaning that is immediately recognizable as all their own.

                                                                                                                                                                                                                                                                      The band is comprised of EgorShkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.


                                                                                                                                                                                                                                                                      John Frusciante

                                                                                                                                                                                                                                                                      The Empyrean (10 Year Anniversary Reissue)

                                                                                                                                                                                                                                                                        10 year anniversary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers.

                                                                                                                                                                                                                                                                        He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others

                                                                                                                                                                                                                                                                        Nina Simone

                                                                                                                                                                                                                                                                        1957-1962: The Essential Works

                                                                                                                                                                                                                                                                          Nina Simone was an exceptional artist. She was gifted with a precocious talent and she played music at home and in church. Nina originally counted on becoming the first black female classical pianist ; her plans were thwarted and that frustration no doubt permeated almost her entire career. Yet she became a diva capable of combining the jazz world with those of the classics and soul, and among other titles she recorded are some of the most vibrant and moving performances of Wild is the Wind or You Can Have Him, I don’t Want Him.

                                                                                                                                                                                                                                                                          She was one of the greatest artists of her time, and her fervour and rigorous demands concerning the quality of her music took her to the highest summits, whether in her compositions or in her vocal and piano performances. For all that, she never forgot her condition as a black woman in the America of the Sixties, and her active commitment to defending the rights of the black minority was exemplary - and at times even excessive, for which she was often reproached.

                                                                                                                                                                                                                                                                          She has left us some of the most beautiful chapters in jazz and soul music, among them the 23 titles that appear in this album.


                                                                                                                                                                                                                                                                          Fu Manchu

                                                                                                                                                                                                                                                                          In Search Of... Deluxe Edition

                                                                                                                                                                                                                                                                            The first release in Fu Manchu’s 30th Anniversary vinyl reissue series, In Search Of...Deluxe Edition, celebrates the band’s 3rd album and major label debut, which was originally released on 27 February, 1996. Recorded at Grandmaster Studios in Hollywood, California by the band and Brian Jenkins (KYUSS, SCREAMING TREES), "In Search Of…" is considered a classic of the '90s and a pillar for the "stoner rock" movement.

                                                                                                                                                                                                                                                                            Highlights include the lead single "Asphalt Risin'", "Redline" and fan favorite "Cyclone Launch.” This limited edition run is pressed on clear vinyl with blue and yellow splatter and the gatefold package design includes never before seen photos of the band. Also included is a bonus red/black splatter 7” of “Chevy Van” (a Sammy Johns cover that was previously only available on the Japanese pressing of the original album) b/w a 1995 Demo version of “Redline.” Both the LP & 7” feature newly remastered audio for maximum fidelity

                                                                                                                                                                                                                                                                            Kanye West

                                                                                                                                                                                                                                                                            808s & Heartbreak - Reissue

                                                                                                                                                                                                                                                                              808s & Heartbreak is the fourth studio album by Kanye West. It was released on 24th November 2008 through Def Jam Recordings and Roc-A-Fella Records, re-issued in 2016 for the US, and is now being made available ex-US. Conceived in the wake of several distressing personal events, 808s & Heartbreak marked a major musical departure from West’s previous rap records, instead featuring a sparse, electronic sound and West singing through an Auto-Tune vocal processor. His lyrics explore themes of loss, alienated fame, and heartache, while the album’s production abandons conventional hip hop sounds in favor of a minimalist sonic palette, which includes prominent use of the titular Roland TR-808 drum machine.

                                                                                                                                                                                                                                                                              Despite varying responses from listeners, the album received positive reviews from most music critics, who generally commented on West’s experimentation, and was named one of 2008’s best records in several year-end lists. Four singles were released in promotion, including the hit singles “Love Lockdown” and “Heartless”. 808s & Heartbreak has since been cited as a prominent influence on subsequent hip hop, pop, and R&B music. This was due to a new wave of rappers, singers, and producers coming to adopt aspects of its style and thematic content.

                                                                                                                                                                                                                                                                              Rowland S. Howard

                                                                                                                                                                                                                                                                              Pop Crimes

                                                                                                                                                                                                                                                                                Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                                                                                                                                                                                                                                                                                Cocteau Twins

                                                                                                                                                                                                                                                                                Garlands - Reissue

                                                                                                                                                                                                                                                                                  Garlands was the Cocteau Twins debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting”, “spellbound”, “diaphanous”, and discerning a “frosting of sweetness”, the critics wore out their adjective; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material. This is Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes.

                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                  LP Info: 140g black vinyl.

                                                                                                                                                                                                                                                                                  LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                                  Cocteau Twins

                                                                                                                                                                                                                                                                                  Victorialand - Reissue

                                                                                                                                                                                                                                                                                    Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice."  Victorialand is remastered from the original analogue tapes.

                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                    LP Info: 140g black vinyl.

                                                                                                                                                                                                                                                                                    HNNY

                                                                                                                                                                                                                                                                                    Sunday

                                                                                                                                                                                                                                                                                      After a brief design-related false start, Swedish wunderkind HNNY releases his debut on Tooli's Omena Records. After bursting onto the the scene with a chunky house refit of Mariah's Foreigner cover, Johan Cederberg delivered a stream of revival house bangers on Local Talk and Let's Play House (including the majestic "For The Very First Time") before broadening his horizons to include Balearic groovers and sunkissed downbeat, and tt's in the latter mood we find him on his debut longplayer. Armed with an endless supply of dusty blue eyed soul samples, production expertise and unhurried style, HNNY packs "Sunday" with the kind of sumptuous textured chill out we, well, chilled out to in the genre's late nineties heyday. Previous singles "Cheer Up My Brother" and "There Is No One Else" are the most floor-friendly cuts on the LP, the latter cutting neat shapes in the filter house realm, while "Sylvia" and "My Baby" are delightfully horizontal soothers worthy of a vintage Ibizan sunset. Lavishly packaged and in frenzied demand, you'd be advised to snap this up sharpish.

                                                                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                                                                      Matt says: Balearic centric HNNY album that disappeared rather quickly in 2015 and has since demanded high figures 2nd hand. Limited repress so don't be complacent!

                                                                                                                                                                                                                                                                                      Sleaford Mods

                                                                                                                                                                                                                                                                                      Key Markets (Repress)

                                                                                                                                                                                                                                                                                        Housed in a gatefold sleeve designed by Steve Lippert, mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. From Original Press Release 2015 “Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980,” explains Jason Williamson. “My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape.” “The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em

                                                                                                                                                                                                                                                                                        Etta James

                                                                                                                                                                                                                                                                                        At Last!

                                                                                                                                                                                                                                                                                          Containing the complete Etta James albums “At Last!” and “The Second Time Around” + 7 bonus tracks, and including updated liner notes

                                                                                                                                                                                                                                                                                          After spending a few years in limbo after scoring her first R&B hits ‘Dance With Me, Henry’ and ‘Good Rocking Daddy,’ Etta James returned to the spotlight in 1961 with her first Chess release, At Last! James made both the R&B and pop charts with the album’s title cut, ‘All I Could Do Was Cry,’ and ‘Trust in Me.’ What makes At Last! a great album is not only the solid hits it contains, but also the strong variety of material throughout. On this album one hears the singer at her peak in a swinging and varied program of blues, R&B, and jazz standards.


                                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                                          LP Info: 180g vinyl & CD.

                                                                                                                                                                                                                                                                                          Ella Fitzgerald & Louis Armstrong

                                                                                                                                                                                                                                                                                          Ella & Louis

                                                                                                                                                                                                                                                                                            Ella and Louis is an inspired collaboration, masterminded by producer Norman Granz. Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's "Cheek to Cheek" and "Isn't This a Lovely Day," and everything else works like a dream, with the golden star going to the Gershwin brothers' "They Can't Take That Away from Me." Gentle and sincere, this is deserving of a place in every home.

                                                                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                                                                            LP Info: 180g vinyl & CD.

                                                                                                                                                                                                                                                                                            Lightning Bolt

                                                                                                                                                                                                                                                                                            Hypermagic Mountain - Reissue

                                                                                                                                                                                                                                                                                              “‘Hypermagic Mountain’ is Lightning Bolt’s fourth, most well-oiled album: song-by-song it chugs into rockier Van Halen, Fucking Champs, or Orthrelm territory.” - Pitchfork.

                                                                                                                                                                                                                                                                                              ‘Hypermagic Mountain’, Lightning Bolt’s fourth album has been unavailable for nearly a decade since its 2005 release.

                                                                                                                                                                                                                                                                                              Back as a double LP including a full drawing by Brian Chippendale as the D side etching.

                                                                                                                                                                                                                                                                                              Recorded at Machines with Magnets and Lightning Bolt’s home by Dave Auchenbach.

                                                                                                                                                                                                                                                                                              Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.

                                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                                              2xColoured LP Info: 2LP available on hypermagic red coloured with full
                                                                                                                                                                                                                                                                                              colour 4-page booklet.

                                                                                                                                                                                                                                                                                              The Pop Group

                                                                                                                                                                                                                                                                                              Alien Blood

                                                                                                                                                                                                                                                                                                Alien Blood is the result of the band’s meticulous process of revisiting the original 2” tapes of their studio sessions and recordings, unearthing never-before-heard material, including the studio recording of ‘Kiss The Book’, gloves off version of ‘We Are Time (Ricochet)’, and ‘Words Disobey Me (Dennis The Menace Mix)’ whilst exposing the raw skeletons of iconic tracks such as the original velocity of ‘Thief of Fire (Bass Addict).’ Alien Blood reveals the life of Y before everything was finalized, exposing revelatory dimensions within these iconic works.

                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                LP Info: Includes poster.

                                                                                                                                                                                                                                                                                                The Pop Group

                                                                                                                                                                                                                                                                                                Y Live

                                                                                                                                                                                                                                                                                                  The Y Live album is an essential addendum to the original release, one that captures all the fierce urgency of The Pop Group’s live performances at the time. Comprised of Y era recordings captured at a variety of locations including New York, Manchester & Brussels – the latter on a bill with William Burroughs and Joy Division – Y Live exemplifies what had proved so thrilling about The Pop Group. A snapshot of a time when the group were sharing stages with future acolytes including Cabaret Voltaire, Linton Kwesi Johnson & Public Image Ltd, Mark Stewart describes the recordings as attempts to ‘paint the impossible’.

                                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                  LP Info: Includes original tour poster.

                                                                                                                                                                                                                                                                                                  Kaleidoscope is the debut studio album by American singer, songwriter and chef Kelis. It was released on 7th December 1999 by Virgin Records and was produced entirely by The Neptunes (Pharrell Williams & Chad Hugo). The album performed well in international markets, including the United Kingdom, where it was certified gold. Kaleidoscope charted on the US Billboard 200, In Europe all three singles; “Caught Out There”, “Good Stuff”, and “Get Along with You” — attained commercial success. After reaching number 52 on the UK Singles Chart on imports alone, “Caught Out There” was given a proper release in the UK, eventually peaking at number four. “Good Stuff” also proved a success, reaching number 19 on the UK chart. The third and final single from the album, “Get Along with You” also charted. As well as producing the album Williams and Hugo also feature on album track Ghetto Children where Slick Rick is a co-writer.

                                                                                                                                                                                                                                                                                                  Espers

                                                                                                                                                                                                                                                                                                  Espers

                                                                                                                                                                                                                                                                                                    Espers’ self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn’t shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.

                                                                                                                                                                                                                                                                                                    Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favour of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers’ individualism, optimism and deeply empathetic soul. ‘II’ and ‘III’ continued the journey through 2009, after which Espers quietly dispersed. Since then, ‘Espers’ and ‘The Weed Tree’ went out of print and have stayed away for some years now. New vinyl and CD editions will surely be welcomed by the members of the burgeoning listening community that continues to evolve in the spirit and image of the communities that preceded them. And the circle remains unbroken.

                                                                                                                                                                                                                                                                                                    Espers

                                                                                                                                                                                                                                                                                                    The Weed Tree

                                                                                                                                                                                                                                                                                                      The second Espers album, ‘The Weed Tree’, was released in 2005. It was a nearly inevitable endeavour for the group, made almost entirely of cover material but the traditional folk songs - ‘Rosemary Lane’ and ‘Black Is the Color’ - were paired with songs by Nico, Michael Hurley and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers’ thorough re-imagining of the material in their own image. The addition of current members Helen Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition but making it new at the same time.

                                                                                                                                                                                                                                                                                                      Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favour of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers’ individualism, optimism and deeply empathetic soul. ‘II’ and ‘III’ continued the journey through 2009, after which Espers quietly dispersed. Since then, ‘Espers’ and ‘The Weed Tree’ went out of print and have stayed away for some years now. New vinyl and CD editions will surely be welcomed by the members of the burgeoning listening community that continues to evolve in the spirit and image of the communities that preceded them. And the circle remains unbroken.

                                                                                                                                                                                                                                                                                                      Trey Gruber

                                                                                                                                                                                                                                                                                                      Herculean House Of Cards

                                                                                                                                                                                                                                                                                                        A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years, Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st-century disconnect, an alphabet’s worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards.

                                                                                                                                                                                                                                                                                                        Roy Budd

                                                                                                                                                                                                                                                                                                        The Internecine Project - OST

                                                                                                                                                                                                                                                                                                          Coming from the peak Roy Budd period – post Get Carter and pre Diamonds - this score neatly bridges the two with Carter-style hypnotic jazz driven cues and superb Diamonds-style drama. The film itself was a slick British thriller directed by Ken Hughes, set in a greay, gloomy London and based around espionage and murder. The plot is simple; former spy Robert Elliot (the ice cool James Coburn – with interesting facial hair and equally as interesting wardrobe) is given a big government job. In order to cut all questionable ties and clean up his rather grubby past he devises a plan in which all of his dodgy associates unwittingly kill each other on the same night – and in alphabetical order. The film’s unusual and often misspelt name comes from the word internecine – the definition of which is conflict within a group.

                                                                                                                                                                                                                                                                                                          Male

                                                                                                                                                                                                                                                                                                          Zensur & Zensur

                                                                                                                                                                                                                                                                                                            It was 40 years ago when Germany’s first ever punk band MALE released their 'Zensur & Zensur' album, now to be reissued. Anything was possible in those heady days. The Dusseldorf punk scene was without compare in the years 1977 to 1979 and MALE were there in the thick of it, etching their name into German musical history. MALE arguably reached their zenith as backup for The Clash on the London Calling tour in Germany. In the wake of the name change to Vorsprung, Jorgen Engler soon shifted his focus to die Krupps, but MALE remained close to his heart as new songs and the odd gig here and there demonstrated in the years that followed. 

                                                                                                                                                                                                                                                                                                            Chapterhouse

                                                                                                                                                                                                                                                                                                            Whirlpool

                                                                                                                                                                                                                                                                                                              British shoegazing/alternative rock band Chapterhouse released two albums during their existence, Whirlpool (1991) and Blood Music (1993). Their debut album is a fantastic example of shoegaze at its best. The wall of sound approach is built around dance music structures and they’re creating some heavy grooves. Whirlpool spent 3 weeks in the UK Album chart in 1991, peaking at number 23. This classic is definitely set in the nineties but has stood the test of time.

                                                                                                                                                                                                                                                                                                              Available as a limited edition of 1500 individually numbered copies on blue & silver marbled vinyl

                                                                                                                                                                                                                                                                                                              African Head Charge

                                                                                                                                                                                                                                                                                                              Songs Of Praise

                                                                                                                                                                                                                                                                                                                Originally issued in 1990 and considered by most fans to be AHC’s masterpiece. Religious chants set to an African dub backdrop of layered hand percussion, with a mighty sonic and great musicianship places the record in a unique place. An outernational classic. For this reissue the album has been expanded to a double LP with all the tracks from the original vinyl release plus bonus tracks previously only available on CD. Includes a download card for the full audio plus double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.


                                                                                                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                Matt says: Yes there's plenty of get stuck into with AHC, but if you insist on only one - then make this one it! The quintessential set from the pioneering transcendental dub wizards! Every home deserves one...

                                                                                                                                                                                                                                                                                                                The Who

                                                                                                                                                                                                                                                                                                                Quadrophenia - OST

                                                                                                                                                                                                                                                                                                                  Replica LP reissue of the soundtrack from the classic and influential 1979 film, adapted by director Franc Roddam from the Who’s 1973 rock opera, that gave rise to the self-styled mod revival in the UK. Features a searing, star-making performance by Phil Daniels as Jimmy the disaffected mod. Set in 1965, and also starring Leslie Ash, Ray Winstone and Sting as the ‘ace face’, the film is set against a backdrop of the mods and rockers battles of the period. Includes 13 Who tracks, including 5:15, Love Reign O’er Me, Bell Boy & others – several re-recorded and remixed exclusively for the soundtrack. Also features 3 tracks not featured on the original 1973 album – Get Out And Stay Out, Four Faces & Joker James, and classic tracks from the 60s mod era by James Brown, Booker T & The MGs, The Ronettes and others.

                                                                                                                                                                                                                                                                                                                  Czarface

                                                                                                                                                                                                                                                                                                                  The Odd Czar Against Us - Green Vinyl Edition

                                                                                                                                                                                                                                                                                                                  All new full-length from Czarface. Debuting on Black Friday in an exclusive never to be repressed color. The kid gloves are off: bored with beating down the regular bad guys, Czarface takes his cosmic reach and sonic superpowers to uncharted territory. Expected the unexpected as one of the most recognizable voices in modern hip-hop pulls no punches across twelve tracks sharp and direct tracks. The beats are as captivating as the verses, taking in boom-bap, reggae and gangsta rap tropes and smothering it in that gritty NY patina.

                                                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                  Ltd LP Info: Limited green vinyl edition.

                                                                                                                                                                                                                                                                                                                  Embrace

                                                                                                                                                                                                                                                                                                                  The Good Will Out - Vinyl Reissue

                                                                                                                                                                                                                                                                                                                    Following in the footsteps of Oasis and the Verve, Embrace became a pop sensation in post-Brit-pop Britain, breaking through in the late ‘90s. The group—hailing from Huddersfield, West Yorkshire, England—had a knack for big, anthemic hooks, which they transform into sweeping, sprawling, lugubrious rockers. This synthesis earned them a strong fanbase with their first singles in 1997, and their debut album, The Good Will Out.

                                                                                                                                                                                                                                                                                                                    Originally released on Virgin's Hut subsidiary in 1998, The Good Will Out became one of the fastest selling debut albums by a British artist, going on to sell over 500,000 copies domestically. Certified gold on the first day of release, the album hit the number one spot and spent 24 weeks in the Top 100, spawning three Top 10 singles, “All You Good Good People” “Come Back To What You Know” and “My Weakness Is None Of Your Business” together with two further Top 40 hits, “One Big Family” and “Fireworks.” Critically acclaimed across the board, NME hailed the album as the “one of the great debut albums of the past decade”.

                                                                                                                                                                                                                                                                                                                    Pressed on heavyweight 180gm vinyl, include DL codes.

                                                                                                                                                                                                                                                                                                                    Rain Parade

                                                                                                                                                                                                                                                                                                                    Emergency Third Rail Power Trip

                                                                                                                                                                                                                                                                                                                      Though there are a number of worthy contenders—Dream Syndicate's The Days of Wine and Roses, The Bangles' All Over the Place, Green on Red's Gas Food Lodging among them—Rain Parade's 1983 release Emergency 3rd Rail Power Trip places at worst in a tie for first among the greatest albums to emerge from the early '80s L.A. Paisley Underground scene. That's because the band—and the album—were probably the most transparent in their influences and probably the most successful in transcending them.

                                                                                                                                                                                                                                                                                                                      Here was the jangle-rock of the Byrds married with the soft, downbeat vocal harmonies of early Pink Floyd, infused with a Love-like delicacy, peppered with a Buffalo Springfield twin lead guitar attack—yet the dark lyrical themes and droning melodies made listening to Rain Parade a singular experience, like being on an acid trip teetering on the knife edge between pure nirvana and colossal bummer. Which, for true fans of psychedelia, was an awfully sweet spot to be.

                                                                                                                                                                                                                                                                                                                      Emergency 3rd Rail Power Trip was the band's debut album, and the only one to feature the original line-up of multi-instrumentalist Will Glenn, drummer Eddie Kalwa, bassist Stephen Roback, and guitarists David Roback (later of Mazzy Star) and Matt Piucci; it hasn't been reissued on LP for over thirty years, and never in the U.S. 

                                                                                                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                      Coloured LP Info: 300 on green vinyl with original artwork intact.

                                                                                                                                                                                                                                                                                                                      Bardo Pond

                                                                                                                                                                                                                                                                                                                      Bardo Pond - Repress

                                                                                                                                                                                                                                                                                                                        Critical praise from Pitchfork, Clash, The Wire, Q Magazine and more upon release. New inverted LTD edition artwork. Fire re-issue Bardo Pond’s eponymous eighth studio album from 2010, their debut for Fire from way back when. A lysergic brain wrestler in which the Pennsylvanian drone outfit perfect their modal sound. Teasing the artistry of LaMonte Young and Terry Riley into a guitar shaped cauldron, the album’s compulsive reverbed guitar shapes slowly simmer behind Isobel Sollenberger’s esoteric vocals “Like hearing a tannoy at a station in the voice of Jesus.” The Quietus. A claustrophobic stuttering raga interlocks with their psychedelic leanings best exemplified on ‘Cracker Wrist’ which sounds like something that’s intentionally always just about to happen/and/or spin back in time. Featuring lengthy fully nurtured play offs between the quintet ‘Bardo Pond’ is a heady statement that’s like the most wholesome kind of vegan-friendly mushroom trips. Pitchfork reckons they’re “playing fuzzed out stoner dreams.” Vice’s musical brother Noisey likens them to “Fugazi On Acid.” Allmusic intervenes with: “These are epic, soaring psychedelic ambient power-drone rock noise melodies where partially buried, distant female vocals are laced throughout a roaring, murky/sludge guitar soundscape

                                                                                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                        2xColoured LP Info: Double silver vinyl repress.

                                                                                                                                                                                                                                                                                                                        African Head Charge

                                                                                                                                                                                                                                                                                                                        Vision Of A Psychedelic Africa

                                                                                                                                                                                                                                                                                                                          The first album African Head Charge made for On-U since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!). This album is African Head Charge at their very best, rich in varied percussion and spiritual chants, set over hypnotic and transcendent layers of African rhythms, trippy and bubbling dubbed-out effects, and trademark pounding bass. This is the first time the album has been released n vinyl. Cut over 4 sides for maximum dynamics by King Kevin Metcalfe. Includes double-sided poster insert featuring a new interview with Bonjo, download card for full contents and two bonus tracks.


                                                                                                                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                          Matt says: More from the post-millennial incarnations of the African Head Charge catalogue. This is a particularly third-eye-opening set, rich in spirituality and oneness with Eart'.

                                                                                                                                                                                                                                                                                                                          African Head Charge

                                                                                                                                                                                                                                                                                                                          Voodoo Of The Godsent

                                                                                                                                                                                                                                                                                                                            A fresh slew of African Head Charge lands for 2020! This 2011 LP from the massive was never available on vinyl when it was first released. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski. All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date. Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.

                                                                                                                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                            Matt says: A new set of later recorded African Head Charge albums has just landed. Be sure to check 'em out if you're into all corners of the bass spectrum as Adrian Sherwood is one of the leaders of the pack.

                                                                                                                                                                                                                                                                                                                            African Head Charge

                                                                                                                                                                                                                                                                                                                            In Pursuit Of Shashamane Land

                                                                                                                                                                                                                                                                                                                              Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on “Songs Of Praise”, this album added elements of trance and electronica to their trademark percussion-heavy sound. This expanded reissue adds 8 bonus tracks to the original vinyl edition, including 2 that have never been released before. Includes a download card for the full audio plus a double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.

                                                                                                                                                                                                                                                                                                                              The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand "Japan" from Victor Cavini, originally released in 1983.

                                                                                                                                                                                                                                                                                                                              Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

                                                                                                                                                                                                                                                                                                                              Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
                                                                                                                                                                                                                                                                                                                              his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

                                                                                                                                                                                                                                                                                                                              These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

                                                                                                                                                                                                                                                                                                                              And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

                                                                                                                                                                                                                                                                                                                              This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.
                                                                                                                                                                                                                                                                                                                              Recalling both Rino de Filippi’s "Oriente Oggi" and Giancarlo Barigozzi’s "Oriente", the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

                                                                                                                                                                                                                                                                                                                              The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.


                                                                                                                                                                                                                                                                                                                              Twylyte '81

                                                                                                                                                                                                                                                                                                                              The First Coming

                                                                                                                                                                                                                                                                                                                                First ever reissue of this extremely rare and off-the-radar soul album: "The First Coming" by Twylyte '81. Produced and released in 1981 in New Jersey and featuring the all-star musical trio of Alfred Brown Jr., Frank Jones Jr. & John Belzaguy, it contains a dazzlingly rich display of musicianship, with a warmth that should find it more than capable of captivating the living room at any given moment.

                                                                                                                                                                                                                                                                                                                                The perfect for a languid Summer evening, the galloping percussion and gentle jazz drums are the perfect accompaniment to Frank Jones' deep and gravelly vocals.

                                                                                                                                                                                                                                                                                                                                Original copies are rare-as-hen's-teeth! 


                                                                                                                                                                                                                                                                                                                                Jim Morrison & The Doors

                                                                                                                                                                                                                                                                                                                                An American Prayer

                                                                                                                                                                                                                                                                                                                                  An American Prayer was The Doors’ 9th and final studio album and posthumously features Jim Morrison. The band reunited 7 years after Morrison’s death and 5 years after the remaining members broke up. They recorded backing tracks over Morrison’s poetry, originally recorded between 1969-1970. Other pieces of music and audio include dialogue from Morrison’s film HWY: An American Pastoral and snippets from jam sessions

                                                                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                  LP Info: 180g Black Vinyl 1LP Gatefold with Booklet

                                                                                                                                                                                                                                                                                                                                  Grizzly Bear

                                                                                                                                                                                                                                                                                                                                  Horn Of Plenty (Reissue)

                                                                                                                                                                                                                                                                                                                                    The debut album from Grizzly Bear will be repressed on cloudy clear vinyl for its 15 year anniversary.

                                                                                                                                                                                                                                                                                                                                    Before they were sound tracking Super Bowl ads, headlining festivals, making TV appearances and opening for Radiohead, Ed Droste started Grizzly Bear as a pet project meant only for friends. 15 years ago, Horn of Plenty was created in his Brooklyn apartment and after hooking up with multi-instrumentalist Chris Bear, Horn of Plenty was released by the new, upstart Brooklyn label Kanine Records in 2004. One year later, Horn of Plenty was rereleased with a bonus remix album, which will be included in the download card of this release. The rest of Grizzly Bear’s rise is history.

                                                                                                                                                                                                                                                                                                                                    "The Grizz offer tender and creepy folk mantras that function as a Paxil substitute or antidote, depending on your disposition." Spin Magazine

                                                                                                                                                                                                                                                                                                                                    "The gentlemen of Grizzly Bear paw around in wholly distinct regions of gentle, nocturnal psych-folk, conjuring visions of an imagined bedroom collaboration between the Doug Yule-era Velvet Underground, Nick Drake, and a pajama-clad Pooh with his head jammed in a honey jar." Pitchfork Media

                                                                                                                                                                                                                                                                                                                                    "Grizzly Bear captured its etherized folk on the beautiful Horn of Plenty (Kanine), a dreamy, evocative record that sounds like it was recorded a mile below sea level." Time Out NY

                                                                                                                                                                                                                                                                                                                                    "Dreamy vocals and pillowy, guitar-driven effects that evoke Neil Young on cough syrup." V Magazine

                                                                                                                                                                                                                                                                                                                                    “The pure atmospheric power of the songs is more than enough to hypnotize” Rolling Stone



                                                                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                    Coloured LP Info: Cloudy Clear vinyl.

                                                                                                                                                                                                                                                                                                                                    Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                                                                                    Bardo Pond

                                                                                                                                                                                                                                                                                                                                    Adrop / Circuit VIII

                                                                                                                                                                                                                                                                                                                                      Where do you start with Bardo Pond? Ever since their first release in 1992, these Philadelphia stalwarts have continually amazed all comers with not only their songcraft and musicianship, but also with their steadfast and singular artistic vision. Close to thirty years and sixty releases later the trip continues unabated, their one true goal of flawless musical unity with the galaxy pressing ever forward. Not only have they outlasted many of their peers ‘ and labels ‘ with this pursuit, but their quest has created hyper-devoted fanbase but also a pool of folks sympathetic to Bardo Pond’s cause but a little intimidated of their deep catalog and unsure of just exactly where they are supposed to start. For these folks on the fringes, Three Lobed Recordings steps forth to definitely answer that central Bardo Pond question: start with Adrop and Circuit VIII. These two multi-movement suites drill down to the exact Bardo essence, each displaying how the band’s longest-running lineup at a sustained creative peak could so easily hit all of the facets of their sound and experimentation in equal measure. That said, these two albums serve not only as starting points but also as reminders to the Bardo faithful of why they have ridden with the band for so long.

                                                                                                                                                                                                                                                                                                                                      Fred A. was a two-faced act. His musical grasp to the new wave-movement was countered by his lyrical love for Flemish and Dutch ‘kleinkunst’, and his progressiveness as a composer was in stark contrast with his restraint as a performer. ‘De Angst Voorbij’ is an anthology of those remnants, with eight songs derived from the most fertile period in the musical career of Fred A. The record translates how Gerry opened up again to his late musical endeavours, recalling the 30-years younger version of himself. “The music on this record is a testimony of my life back then. It is delimited in time, that’s why this whole feels coherent to me. It shows who I was back then and what I stood for. And that’s worth cherishing.

                                                                                                                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                      Patrick says: Always my go-to guys for 80s melancholy, Stroom bring the gloom once again, this time via the bittersweet bedroom wave of Fred A. Far to introverted to fall under outsider pop, this is music for nocturnal reflection, chilly evenings and profound loneliness. Red wine and ambien - models own.

                                                                                                                                                                                                                                                                                                                                      Music From Memory's latest essential output is a retrospective of an artist long-loved by the label, Brazilian composer and multi-instrumentalist Priscilla Ermel. Origens Da Luz brings together a selection of recordings drawn from a body of work that was originally recorded between 1986 and 1994.

                                                                                                                                                                                                                                                                                                                                      Priscilla was raised in a musical family in São Paulo and learned the cello and guitar at an early age. She then embarked on a deeply personal musical journey that would travel from origins rooted in Tom Jobim and Chico Buarque to recording the music of the natural world and the communities around her. A film-maker and anthropologist by training, Priscilla is a lifelong student of a universal music. Disillusioned with contemporary European classical music, she spent long periods living with indigenous populations in Brazil, collecting instruments that she would later combine with synthesizers and field recordings. After studying with the renowned Taoist master Liu Pai Lin, she integrated the slow-moving pace of Tai Chi into a music that connects intimately with a multiplicity of cultures at the same time that it unmistakably reflects her Brazilian soul.

                                                                                                                                                                                                                                                                                                                                      Combining sounds drawn from the history of Brazil with her own explorations of analogue sound technology, Priscilla’s music opens up a mystical space, where ancient and modern evolves into a new language. Compiled by John Gómez and released on 2xLP, Origens Da Luz offers a panoramic view of this artist’s unique and mesmerizing sound world.

                                                                                                                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                      Patrick says: MFM continue their fruitful relationship with John Gomez here, returning to Brazil's lush rainforests to visit the vibrant sound world of Priscilla Ermel. Recorded and realised from 86 to 94, the mesmeric, immersive compositions marry the stately pace of Tai Chi with a detailed mesh of fourth world melodies and textures, offering a South American analogue to the likes of Finis Africae.

                                                                                                                                                                                                                                                                                                                                      Los Campesinos!

                                                                                                                                                                                                                                                                                                                                      Romance Is Boring - 10th Anniversary Edition

                                                                                                                                                                                                                                                                                                                                        A pivotal moment in the evolution of Los Campesinos! - both more ambitious and more assured than the two albums that preceded it - this is the work of a band truly hitting their stride as songwriters. Musically the band expanded their already impressive sonic palette further on this album to incorporate orchestration from composer Jherek Bischoff and brass instrumentation, along with guest vocals from Jamie Stewart (Xiu Xiu) and Zac Pennington (Parenthetical Girls).

                                                                                                                                                                                                                                                                                                                                        Lyrically, too, this album is a leap forward, with Gareth honing his skills as a storyteller and turning his focus outwards where the previous albums were more biographical in their subject matter. The results are some of Los Campesinos!’ best songs - from the anthemic poppier moments such as ‘These Are Listed Buildings’ and the album’s title track, to the sweeping melodrama of ‘The Sea Is A Good Place To Think Of The

                                                                                                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                        2xColoured LP Info: Gold vinyl.

                                                                                                                                                                                                                                                                                                                                        2xColoured LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                                                                                        King Gizzard & The Lizard Wizard

                                                                                                                                                                                                                                                                                                                                        Fishing For Fishies - Lilypad Edition

                                                                                                                                                                                                                                                                                                                                          The seven-headed Aussie rock beast King Gizzard & The Lizard Wizard return with ‘Fishing For Fishies’, perhaps their most perfectly-realised album to date. The Lilypad Edition has been pressed an Aqua Marble after the first pressing quickly sold out. Released on the band’s own Flightless Records, here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present.

                                                                                                                                                                                                                                                                                                                                          The fourteenth album since their 2012 debut - and their first following the release of five vastly different albums in 2017 - ‘Fishing For Fishies’ is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of ‘The Bird Song’ (think a lysergically-soaked Laurel Canyon circa 1973) and on through the party funk of ‘Plastic Boogie’ (which somehow summons the spirit of Stevie Wonder’s ‘Innervisions’) the road-trucking, Doors-like highway rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ - what Carpenters might have sounded like had they existed entirely on vegemite and weed - it’s a dizzying, dazzling display which addresses a number of pertinent environmental issues along the way.

                                                                                                                                                                                                                                                                                                                                          “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it - or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

                                                                                                                                                                                                                                                                                                                                          Quiet though it was on the record front, 2018 was hardly a year of rest - almost in perpetual motion, they continued their unstoppable rise as their juggernaut of a live show grew and grew and grew, with a mind-blowing headline slot at last year’s Green Man Festival, a massive sold-out US tour in the summer which saw them play their biggest venues to date, a brain-frying sold out Brixton Academy show, two gigs in Russia and Istanbul where they played in front of over 15,000 people and putting on the fourth edition of their annual Gizzfest in Melbourne amongst the highlights.

                                                                                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                          Coloured LP Info: Lilypad pressing.

                                                                                                                                                                                                                                                                                                                                          A seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara’s sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, 4 X A Dream is both Balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neo-impressionist vibes haunt and entrance. Quite possibly the most unique LP you’ll ever add to your collection.

                                                                                                                                                                                                                                                                                                                                          Simon & Garfunkel

                                                                                                                                                                                                                                                                                                                                          Bridge Over Troubled Water

                                                                                                                                                                                                                                                                                                                                            This is the 50th anniversary release of this iconic Simon & Garfunkel album, regarded as one of the greatest albums of all time! The final album they recorded was less folk & more Rock, Gospel, R&B, Pop. The album sales were certified x10 Platinum in the UK & won several Grammy's in America. Includes the title track, alongside "The Boxer", "Cecilia" & more... 

                                                                                                                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                            Coloured LP Info: This new version is pressed on 180gm, heavyweight Gold LP Vinyl, with a bespoke insert containing a download code.

                                                                                                                                                                                                                                                                                                                                            Schatzimusik saunter onto our shelves for the first time with a big inaugural release, a super neccessary reissue of Trimolo's masterful debut LP, a gorgeous fusion of organic and esoteric jazz, new age moods and European exoticism.

                                                                                                                                                                                                                                                                                                                                            Though they came into being in '84, Trimolo's career kicked off in 1987 when the fourpiece moved out of their basement and onto the stage, winning a band contest which took them into the studio for the first time. From there, the outfit lent two expressive tracks to the "Rock Feierwerk 1987 Sampler", before blessing the world with their exceptional debut LP. 

                                                                                                                                                                                                                                                                                                                                            A sublime combination of infectious rhythms, dexterous guitar playing, evocative synths and playful flute, Trimolo's music breezes through the forest, relaxes by the stream and soaks up the sun, embodying the carefree syncronicity of its creators. The detailed melodies, woozy aesthetic and utter joie de vivre of the LP has put this platter in high demand over the years, and the keen eared will have spotted "Tempo 100" on Basso's "Proper Sunburn" compilation (Piccadilly #1 comp of 2019!). Now you get to luxuriate in the glory of this mellow killer, expanded with the inclusion of the two "Rock Feierwerk Sieger 87" versions. Thank you Schatzimusik!

                                                                                                                                                                                                                                                                                                                                            Townes Van Zandt

                                                                                                                                                                                                                                                                                                                                            Townes Van Zandt - 50th Anniversary Edition

                                                                                                                                                                                                                                                                                                                                              Townes Van Zandt is the third studio album by the American singer-songwriter Townes Van Zandt, originally released in September 1969 by Poppy Records. It includes re-recordings of four songs from his 1968 debut album, including the first serious song he ever wrote, "Waitin' Around To Die".


                                                                                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                              Ltd LP Info: 180g remastered vinyl.

                                                                                                                                                                                                                                                                                                                                              The Upsetters

                                                                                                                                                                                                                                                                                                                                              Eastwood Rides Again

                                                                                                                                                                                                                                                                                                                                                Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and its a representation of Perry’s significant production skills.

                                                                                                                                                                                                                                                                                                                                                Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

                                                                                                                                                                                                                                                                                                                                                Eastwood Rides Again is available as a limited edition of 1000 individually numbered copies on orange vinyl.

                                                                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                Coloured LP Info: Limited edition of 1000 individually numbered copies on orange vinyl

                                                                                                                                                                                                                                                                                                                                                When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

                                                                                                                                                                                                                                                                                                                                                Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

                                                                                                                                                                                                                                                                                                                                                Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

                                                                                                                                                                                                                                                                                                                                                The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

                                                                                                                                                                                                                                                                                                                                                The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

                                                                                                                                                                                                                                                                                                                                                Words from the artist___:
                                                                                                                                                                                                                                                                                                                                                "I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

                                                                                                                                                                                                                                                                                                                                                Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

                                                                                                                                                                                                                                                                                                                                                As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

                                                                                                                                                                                                                                                                                                                                                Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

                                                                                                                                                                                                                                                                                                                                                For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

                                                                                                                                                                                                                                                                                                                                                Kedama

                                                                                                                                                                                                                                                                                                                                                The Complete Collection

                                                                                                                                                                                                                                                                                                                                                  “Three thick lps of hot jellied kraut-prog heavies coming at you from 1970s swiss-german based Kedama 3 lps of “live” in the studio and actual live recordings unbelievably telekinetic drums, keys and guitar Vision quest soundscapes a total gem lost to the ages here, y’all The first lp was reissued by Geurrson Records a while back the other two lps are unreleased on wax as of yet - rarities and live oddities It’s been a real pleasure to work with these guys as they were as excited as we were and provided us with a plethora of recordings & photos and press clippings to sort through to pull together this nice little set it’s raw, like you like it after a few it’s heavy, so you can nod as you sway along the path it’s beautiful, so you can reminisce it’s winding, so your imagination is blindfolded it’s far flung space jams so you can fry out it’s screwed down genius so you can be inspired this shit is far out and a real-deal old school fuse lighter and its limited to 1000 copies nice, never seen before photos of the gurus so come and get it nerds!

                                                                                                                                                                                                                                                                                                                                                  Gil Scott-Heron

                                                                                                                                                                                                                                                                                                                                                  I'm New Here - 10th Anniversary Expanded Edition

                                                                                                                                                                                                                                                                                                                                                  In February 2010, the late, legendary musician, poet and author Gil Scott-Heron released his thirteenth, and last, studio album. First conceptualised in 2005, and ultimately produced by XL Recordings head Richard Russell during New York recording sessions that commenced in January 2008, "I’m New Here" was Scott-Heron’s first album in thirteen years and found him sounding as vital, boundary-pushing and insightful as ever before.

                                                                                                                                                                                                                                                                                                                                                  In addition to the original album, this 'I'm New Here' 10th Anniversary Edition features two unreleased tracks - a cover of Richie Havens’ 'Handsome Johnny’ and a previously unheard Scott-Heron song 'King Henry IV’ - as well as a selection of other recordings from the original I’m New Here sessions that were only previously available on a rare, vinyl only deluxe version of the LP.

                                                                                                                                                                                                                                                                                                                                                  "Ten years ago I was in the midst of recording “I’m New Here” with Gil. There was a lot more to the experience than it was possible to process at the time, and there was some great material that never made it onto the album. Our cover of “Handsome Jonny” was the last recording Gil and I made on the last day of the last session for “I’m New Here”, at Clinton Studio in Hell’s Kitchen, NY, on September 19, 2009. Gil had introduced me to the original version of the song, explaining how Richie Havens had performed it in his opening set at Woodstock some forty years earlier, and we added it to a list of material we were considering for the album. In the end we recorded some of these songs, like Bobby Blue Bland’s “I’ll Take Care Of You”, Bill Callahan’s “I’m New Here” and Robert Johnson’s “Me and the Devil”, and didn’t get round to some others, including Joy Divison’s “Disorder”." - producer Richard Russell

                                                                                                                                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                  Barry says: There's little that can be said about this legendary outing from XL head Richard Russell and the great GSH that hasn't already been said, it's an absolutely essential listen, and this expanded edition makes it even moreso. A wildly groundbreaking and influential recording.

                                                                                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                  2xColoured LP Info: Double LP (one green and one pink disc).

                                                                                                                                                                                                                                                                                                                                                  Rhythim Is Rhythim / Derrick May / Mayday

                                                                                                                                                                                                                                                                                                                                                  Innovator - Soundtrack For The Tenth Planet

                                                                                                                                                                                                                                                                                                                                                  When Network Records originally issued “Innovator” in 1991 they knew that the music contained within was timeless. At that time, of course, they had no grasp of how well Derrick’s epic soundscapes would time travel. They christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.

                                                                                                                                                                                                                                                                                                                                                  The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

                                                                                                                                                                                                                                                                                                                                                  The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and the label wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world. It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

                                                                                                                                                                                                                                                                                                                                                  The original “Innovator” release was housed on one single slab of wax. This time around it's been expanded to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

                                                                                                                                                                                                                                                                                                                                                  "Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.


                                                                                                                                                                                                                                                                                                                                                  NBN Archives is proud to debut a forthcoming series of Hip-Hop and R’n’B reissues with a little known Californian project from "108", a short lived Bay Area group which consisted of rappers Encore (Shaya Bekele) and Grand The Visitor (Everett Aknowledge) along with composer-producer Sedric Edwards. Originally released in 1996 in a very limited quantity of one hundred CD's, the album "Mission Infinite" never really got the attention it deserved until now.

                                                                                                                                                                                                                                                                                                                                                  By the mid 90s Encore and Grand had already been gravitating around the San Jose Hip-Hop scene, releasing music in connection with Bay Area Hip-Hop Icon Peanut Butter Wolf - both featuring on one of Wolf’s first 12’s “Step On Our Ego's?” (1996, South Paw Records). In the same year, Grand released his first solo single “The Visitor” on Blind Side Recordings produced by PB Wolf and Encore's first single was one of the very first releases on Stones Throw in 1997. Sedric Edwards was a sound engineer working locally when he met Chris Cut (aka PB Wolf). They set up a studio together where he met the two MC’s. According to Encore: "One day, Sedric was playing some of his Jazz-infused instrumentals in between sessions, and we were like: ‘We should try something with this!’”

                                                                                                                                                                                                                                                                                                                                                  Working with Sedric’s simple homestudio set-up and with local musicians adding instrumentation to his bass playing, they managed to achieve a "live feel" on the album. Released upon completion via Wake Up Records, the LP was promoted with a couple of shows in small clubs around the San Jose area - where most of the CD's were sold. However without distribution or promotion the record fizzled out. It remains a mystery up until today how this album remained so slept-on for over two decades.

                                                                                                                                                                                                                                                                                                                                                  At a time when rapping over live instrumentation was not very common, a style popularized by bands like The Roots, the 108 project truly stands out amongst other Hip-Hop releases of that era. NBN Archives is extremely proud to present this 90's Hip-Hop underground masterpiece, remastered from the original DAT tapes, for the Jazzy Hip-Hop Aficionados.


                                                                                                                                                                                                                                                                                                                                                  MC5

                                                                                                                                                                                                                                                                                                                                                  Live Detroit 68/69

                                                                                                                                                                                                                                                                                                                                                    Discover the raw energy of MC5, a pioneer band of punk rock and hard rock.

                                                                                                                                                                                                                                                                                                                                                    Recognized and known for their high-flying scene performance, this live recording in their home city (Detroit) is no exception. The first four songs were recorded at the Unitarian Church in Detroit in August 1968, while the last three were recorded at Westfield Highschool in Detroit in January 1969.

                                                                                                                                                                                                                                                                                                                                                    Acid Mothers Temple & The Melting Paraiso U.F.O.

                                                                                                                                                                                                                                                                                                                                                    Minstrel In The Galaxy - Repress

                                                                                                                                                                                                                                                                                                                                                      Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.

                                                                                                                                                                                                                                                                                                                                                      What we said back then ...

                                                                                                                                                                                                                                                                                                                                                      ‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.

                                                                                                                                                                                                                                                                                                                                                      The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.

                                                                                                                                                                                                                                                                                                                                                      They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

                                                                                                                                                                                                                                                                                                                                                      To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!


                                                                                                                                                                                                                                                                                                                                                      It was one of the most peculiar landings of the Sun Ra Arkestra. Time: 7 December 1986, Polish People’s Republic, still separated from the West by the Iron Curtain. It's a grey and poor twilight of a real socialism era. In three years the Eastern Bloc would collapse, but what still occupies the minds of Poles now is mostly the martial law imposed by the Pro-Moscow regime in 1981, when the country wanted to free itself from the influence of the Soviet Union. Place: Kalisz, one of the oldest Polish cities dating back to the 10th century, historically connected with the first kings of Poland, grew into a multinational centre with time as not only the Czech Brethren escaping the Habsburg monarchy found refuge here, but also prominent rabbis known across Europe used to operate and expound in the local Jewish community.

                                                                                                                                                                                                                                                                                                                                                      In the 20th century Kalisz became a provincial city and its presence in the cultural life of Poland was most significantly marked with the International Jazz Piano Festival. It was during the 13th edition of the festival that Sun Ra Arkestra performed. What turned out to be most memorable for the concert-goers was the closing procession of musicians who left the stage to walk around the audience, circle the venue, and return. Researchers of the Sun Ra mysticism recognized such gestures as rituals of passage corresponding to the cosmic cycles of death and resurrection. From a European perspective, Sun Ra's work turns out to be a dream come true for Wagner and Stockhausen. His music brought the myth to life. The myth connecting the past with the future – above the unfavourable present – which created a sphere of freedom. However, Ra used to say that it was not freedom that was at stake here, but precision and discipline. 

                                                                                                                                                                                                                                                                                                                                                      Happy Mondays

                                                                                                                                                                                                                                                                                                                                                      Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)

                                                                                                                                                                                                                                                                                                                                                        Released in April 1987, the Happy Mondays debut album was a perfect snapshot of a very different kind of pop culture coming from beyond the fringes. It would be an underground album but a game changer. Produced by Velvet Underground legend, John Cale, this was the accidental sound track for the endless housing estates sailing away from Manchester City centre and into Salford-perfectly captured by this gang of misfits.

                                                                                                                                                                                                                                                                                                                                                        With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release. Features the singles “Tart Tart” and “24 Hour Party People”.

                                                                                                                                                                                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                        Andy says: Totally original, eternally rhythmical, post-punk/funk topped with Shaun Ryder's inimitable drawl. A proper band fronted by two cartoonish magicians in Shaun and Bez. Amazing, reallu.

                                                                                                                                                                                                                                                                                                                                                        Happy Mondays

                                                                                                                                                                                                                                                                                                                                                        Bummed

                                                                                                                                                                                                                                                                                                                                                          Like many an influential album in rock history, the cultural significance of Happy Monday’ Bummed was apparent to precious few listeners upon its first release on 5 November 1988. Within a decade or two, Bummed would be hailed as one of the best records of the ’80s, often by the self-same publications that had slated it back in the day – a harbinger of the seismic shift about to take place in British popular music, away from the squeaky-clean, corporately ordained pop-radio fodder which had increasingly dominated the charts since punk, and back towards the more aggressive, unruly and experience-hungry urges which had always pulsed through rock ‘n’ roll.

                                                                                                                                                                                                                                                                                                                                                          With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release.

                                                                                                                                                                                                                                                                                                                                                          Featured the singles “Wrote For Luck” and “Lazyitis - One Armed Boxer”

                                                                                                                                                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                          Andy says: The Martin Hannett produced "Bummed" was a huge step up (and on!) from their debut record. Cavernous and rambling, heavy and churning, the tunes here were much more direct whilst the grooves were (can we say it?) BAGGY as fuck! One of Factory Records' greatest ever releases.

                                                                                                                                                                                                                                                                                                                                                          Happy Mondays

                                                                                                                                                                                                                                                                                                                                                          Pills 'N' Thrills And Bellyaches

                                                                                                                                                                                                                                                                                                                                                            Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records. While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

                                                                                                                                                                                                                                                                                                                                                            By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

                                                                                                                                                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                            Andy says: The Mondays first "pop" (but not really) LP was produced by superstar DJ Paul Oakenfold and featured their biggest hit, the superb "Kinky Afro". This was their time,and they didn't fail to deliver.

                                                                                                                                                                                                                                                                                                                                                            Happy Mondays

                                                                                                                                                                                                                                                                                                                                                            ...Yes Please!

                                                                                                                                                                                                                                                                                                                                                              ‘...Yes Please!’ was the last Happy Mondays album on Factory Records. It was produced by Talking Heads’ Tina Weymouth and Chris Frantz and reached number 14 in the UK chart. Artwork lovingly replicated by original Manchester designers Central Station Design. Features the singles “Stinkin´ Thinkin”, “Sunshine & Love” and “Angel”.

                                                                                                                                                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                              Andy says: "Yes Please" signaled the chaotic end of the Happy Mondays but it's still really interesting with it's tasty Talking Heads production and "Stinking Thinking" is one of the best things they ever did.

                                                                                                                                                                                                                                                                                                                                                              'Picture London, thirty years ago, as Neneh Cherry gears up to release her debut album Raw Like Sushi - a thrumming, restless, vibrant city that in 1989, much like today, pulsed defiantly against a backdrop of increasing political doom, rocking to the joyful noise of culture leaping across boundaries, radically reordering itself. Rents are low. Soho hums to the chatter of poets, vagabonds and petty sex tourists drinking in the same elixir of possibility. The divisions between the queens of Old Compton and mods and punks of Carnaby Streets look huge but feel slight. A spirit of multiracial unity permeates the air. New York hip hop and Chicago house continue their euphoric colonisation of nightclub culture. Amid this maelstrom, Neneh Cherry emerges, capturing the entire, giddy rumble of this rolling community street culture in one record, Raw Like Sushi. With no interest in genre, Raw Like Sushi upsets and inverts everything you thought you knew about how pop can work, at its brightest and most effective. One of the greatest debut albums of all time, born halfway between Never Mind The Bollocks and Boy In Da Corner, Raw Like Sushi was ready to escort you right to the centre of its dancefloor, dripping hot sweat under a mirrorball at 3am - and its particular magic remains just as potent today.

                                                                                                                                                                                                                                                                                                                                                              Since the release of Raw Like Sushi 30 years ago, Neneh Cherry has continued to define and redefine culture, style and music releasing five studio albums, including 2018’s Broken Politics, produced by Four Tet, which was met with critical acclaim by the likes of The Guardian, Rolling Stone, The Times, Q and Pitchfork. Neneh went on to tour the album throughout 2019 including her largest ever headline show at London’s Roundhouse, and festival performances at Glastonbury, Latitude, Primavera, Pitchfork and more proving her music and message more relevant than ever.


                                                                                                                                                                                                                                                                                                                                                              Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums. Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle! Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001. Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday. Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased. But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.

                                                                                                                                                                                                                                                                                                                                                              Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

                                                                                                                                                                                                                                                                                                                                                              Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

                                                                                                                                                                                                                                                                                                                                                              The LP opens with Kimiko’s highly desirable version of “I Thought It Was You”, an elegant take on Herbie’s own anthem. Other superb re-workings include the delicately soulful “Butterfly”, jazzy groover “Sunlight”, the smooth and sexy “Tell Me A Bedtime Story” and the beautiful ballads “Maiden Voyage” and “Harvest Time”. A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn’t be missed, the set closes with a jaw-dropping version of Stevie Wonder’s “As”.

                                                                                                                                                                                                                                                                                                                                                              This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis’ sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.


                                                                                                                                                                                                                                                                                                                                                              LaRombé is one of the most talented songwriters to have graced our eardrums at Piccadilly. Having gone through much of his tape archive it obvious what a powerhouse of song writing and composition this man is. LaRombé music is of the strongest calibre all the way, from his first release in 1979 to present day. All of his Soul, Disco & R&B stands the test of time. It's easy to have one record that with luck ends up great but another thing to write record after record with great hooks you can't leave alone. 

                                                                                                                                                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                              Millie says: LA soul writer LaRombé is on the notoriously good label for all things funk and soul Athens of the North. 'From Philly' is an archive of all his best stuff, with the hit single ‘You’re The Best’ which created a storm of fiery soul and R&B, it’s a favourite at Piccadilly!

                                                                                                                                                                                                                                                                                                                                                              Nas' 1994 debut "Illmatic" is rightly hailed as a paragon of underground hip-hop, a turning point in East Coast rap's development, and one of the all-time greatest debut albums in general. Though Nas' artistic legacy is without question, it was not always the case; if Nas had flourished during the mid-90s, he had stumbled clumsily while transitioning into the 00's. After achieving universal praise via Illmatic and commercial success with its' follow-up It Was Written, Nas' next few releases were considered inconsistent and lackluster compared to the critical one-two punch they followed. During this time period he had abandoned the socially-conscious and philosophical topics that made him a critical darling in favor of more commercially viable gangsta rap. Though he maintained a chart presence for much of the late-90s, review scores began to dwindle, and his status among the hip-hop community was thrown into question. This would change in 2001 with the release of Nas' fifth studio full-length, which made the effort to re-establish him as a legitimate artist. Eschewing the pop-friendliness he'd found success with, Nas instead opted to return to the underground style he came up in, with tracks about American politics, ghetto life, and social upheaval. Perhaps sensing this need to return to his roots, he titled the album "Stillmatic", a clear and present reference (and sequel of sorts) to Illmatic.

                                                                                                                                                                                                                                                                                                                                                              The ploy worked perfectly; Stillmatic was hailed by critics as a stunning comeback, and a brilliant return to form, earning rave reviews from rap outlets such as The Source and HipHopDX as well as from more mainstream publications as The Rolling Stone and The Village Voice. Praise was heaped upon the complexity and introspective nature of Nas' lyrical content, the top-tier production from veterans like Large Professor, DJ Premier, L.E.S., and Trackmasters, and hard-hitting guest appearances from AZ, Mary J. Blige, and Amerie. Stillmatic would see release on December 18th of 2001, right as Nas was caught in the middle of a highly publicized feud with fellow New York rapper Jay-Z. As such, the record features one of the feud's most intense apexes in the form of its second track "Ether", a ruthless Ron Browz-produced diss track. A response to Jay-Z's own diss "Takeover", "Ether" savaged the Brooklyn-native, accusing him of brown-nosing to get ahead, of plagiarizing earlier rappers such as Notorious B.I.G. and KRS-One, and dismissing his street cred. To this day "Ether" is considered one of the best and most potent diss tracks ever recorded, a major turning point in the Nas/Jay-Z feud, a standout among the already critically acclaimed Stillmatic, and is even credited with boosting Jay-Z's career by proxy. 

                                                                                                                                                                                                                                                                                                                                                              Frédéric Gassita discovered music at the age of five. In 1977 he left Gabon to study in France. His tutors in France spotted the talent of the young man and decided to enroll him at the Conservatory of Music in Châteauroux, where he learned classical music, composition, and perfected his practice of piano, bass and guitar.

                                                                                                                                                                                                                                                                                                                                                              Back in Gabon in 1983, Frédéric decided to form the band "Surprise" with his longtime friend Jean-Jean Gateau. His musical influences – his parents introduced him to a lot of music: Afro-Cuban music, Jazz, Soul or RnB. - forged the sound of the band as well as a strong inspiration from the US Funk that invaded the radio waves of Gabon. The Guitarist Célestin Assélé Bongo joined the band and provided them the necessary means to record an album. Florence Nang Ekomye, a talented self-taught jazz singer, is immediately recruited, being the voice of Surprise.

                                                                                                                                                                                                                                                                                                                                                              Benefiting from the unique recording conditions of Studio N'Koussou in Libreville (set-up by Patience Dabany in the early 80s), one of the handful studios to use a Digital 48 Tracks recorder at the time, the young musicians had the strong desire to get the perfect sound: "It took us almost a year to finish the album. We were young and we wanted to do the best we could so we dithered a lot on the choice of songs ..." The result is a sensational production, the use of synthesizers is slamming and the charm of Florence’s voice makes the recording quite unique.

                                                                                                                                                                                                                                                                                                                                                              "Beleive Me" is an outlier considering what was being done in Gabon at the same time. Indeed, the vast majority of small Gabonese bands were still mimicking the sound of James Brown in cabarets… The record unfortunately did not meet the success the band expected and seemed to have never really benefited from a real marketing. A year after the release of "Beleive Me", Frédéric flew to the U.S. and joined the Berklee College of Music in Boston where he studied for six years; the band never recorded together again.

                                                                                                                                                                                                                                                                                                                                                              Totally unknown until recently, Surprise, primarily an early work from the great composer, still sounds fresh and crisp and we hope it will now get the attention it did not get upon release.

                                                                                                                                                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                              Patrick says: Sublime groove-led music here from Africa's Atlantic coast, as Gabon's Surprise fuse reggae, disco, jazz and boogie into a shimmering digital delight, somehow overlooked on its mid 80s release.

                                                                                                                                                                                                                                                                                                                                                              Angelo Badalamenti

                                                                                                                                                                                                                                                                                                                                                              Music From The Twin Peaks Soundtrack - Coloured Vinyl Edition

                                                                                                                                                                                                                                                                                                                                                              "Lucy, put Harry on the horn." And so began the most unique, iconic and absurd series in the history of television. For two glorious seasons we pressed our nose to the glass and watched the strange and beautiful goings on in Washington's weirdest logging town. We looked on in awe as Cooper drank coffee, ate cherry pie and savoured the woodland smells, got close to Audrey but kept a respectable distance. We rooted for Norma and Ed, Harry and Joan, Andy and Lucy, Margaret and her log, and laughed ourselves queasy at James and Donna's hilariously wet highschool romance. We tried to find Laura Palmer's killer, figure out the Red Room and the Black Lodge and work out exactly how Cooper got in touch with Diane. We failed, gave up and enjoyed the goings on anyway. And throughout it all, we were swept along on the thematic perfection of Angelo Badalamenti's sublime score. From the swelling bass and dreamy chords of the title music to the bittersweet beauty of "Laura's Theme", from Audrey's seductive jazz to the smokey sweetness of "Dance Of The Dream Man", the score never put a foot wrong. 

                                                                                                                                                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                              Patrick says: In a rare triumph of synchronicity, the finest TV show ever made also boasted the best soundtrack ever written. And that gorgeous, glorious, dreamy soundtrack is now available on coloured vinyl! As lovely as Audrey and as cool as Agent Cooper, this is aces!

                                                                                                                                                                                                                                                                                                                                                              Thin Lizzy

                                                                                                                                                                                                                                                                                                                                                              Jailbreak

                                                                                                                                                                                                                                                                                                                                                                Regarded as one of the bands all time classic albums, Jailbreak released in 1976 was a hit both sides of the Atlantic and contains the ultimate Thin Lizzy anthem in The Boys are Back in Town.’

                                                                                                                                                                                                                                                                                                                                                                This vinyl reissue is on 180gm vinyl (with download code) with replica artwork.

                                                                                                                                                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                                Andy says: An incredible band who were heavy as heck (and funky, and poppy) and in Phil Lynott had one of the best songwriters of his generation.

                                                                                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                Ltd LP Info: 180 gram vinyl.

                                                                                                                                                                                                                                                                                                                                                                Ltd LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                                                                                                                It's been a year since the magnificent 'Dark is the Sun' first enchanted listeners back in 2011, and we're thrilled to announce the next installment of mesmerizing non-contemporary jazz by the Greg Foat Group with their new album 'Girl and Robot with Flowers'.

                                                                                                                                                                                                                                                                                                                                                                Evading the dreaded 'second album syndrome' with consummate ease, 'Girl and Robot with Flowers' is a sonic soundscape of epic proportions that leaves 'Dark is the Sun' in the dust while propelling the listener into infinity - and beyond!

                                                                                                                                                                                                                                                                                                                                                                With a doff of the hat to sci-fi writer Brian Aldiss, we're whisked off on a thematic journey into the emotive and enthralling realms of cinematic jazz, seductive ambience and exciting, majestic drama. Often unpredictable and certainly never dull, British pianist/composer/arranger Greg Foat uses everything from brass bands and kettle drums to Moog synthesizer and harmonium to take us above and beyond the stratosphere of our senses. Have spacesuit? Let's travel!

                                                                                                                                                                                                                                                                                                                                                                As with 'Dark Is the Sun', this album was recorded in a unique, pure analogue studio in Sweden to capture the full warmth and dynamic range of the wide variety of instruments utilized. The spacious, high quality sound that was achieved by recording direct to tape through high quality vintage equipment is absolutely impeccable, revealing in stunning detail a magical atmosphere the likes of which is rarely heard in the current climate of digitalization and MP3s.

                                                                                                                                                                                                                                                                                                                                                                Over the years Greg Foat has collaborated withmusicians and artists such as Wendy James, Questlove of The Roots, The Black Lips, Justice and The Bees. This past year has been a busy one with tours of Europe and the UK, exposing their music to seasoned audiences: Jamie Cullum, Chris Evans, Gilles Peterson, Craig Charles, Ozwald Boateng, Helena Christiansen, Jude Law, Benicio Del Toro, Lyndsey Lohan are just a few of the many faces who have enjoyed the music of the Greg Foat Group.

                                                                                                                                                                                                                                                                                                                                                                Galaxie 500

                                                                                                                                                                                                                                                                                                                                                                This Is Our Music

                                                                                                                                                                                                                                                                                                                                                                  After producing two albums celebrated by a thirsty underground network of fans, Galaxie 500 released what turned out to be their unexpected swansong, "This Is Our Music". The title is an intentionally declarative statement. After being labeled masters of the disengaged and forlorn, Damon Krukowsi, Dean Wareham, and Naomi Yang delivered a full-length comprised of their most stately material. Here, one can hear potential realized, as well as changes afoot. "Fourth Of July" is a surprisingly up-front song for the band, with rolling drums and a bass-heavy refrain, and it proved to be their most popular single. The track sets the stage for the dynamism of "This Is Our Music". When Galaxie 500 sounds wistful ("Summertime"), it sounds like years of yearning actualized; when the band sounds regretful ("Sorry"), it comes pleading on its knees. The trio found a beautiful balance between increased production values and knob-twiddler Mark Kramer's odd handed approach. For the first time since its original pressing, "This Is Our Music" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                                                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                                  Andy says: Galaxie 500's third and final album felt bolder and more dynamic than their previous work. Such an amazing band!

                                                                                                                                                                                                                                                                                                                                                                  When Galaxie 500's today was released in 1988, it set off a chain reaction of quiet explosions still being felt. Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. And one can draw a straight line from here to the many groups they influenced, like Low, Belle & Sebastian, and Bon Iver. "Today" is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of "Don't Let Our Youth Go To Waste", by the kings of feeling, the Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle. The band's hometown of Boston was just coming out of its love affair with Mission Of Burma and pouncing upon the spasmodic electricity of The Pixies. Despite, or perhaps because of, all these elements, "Today" thrived. More than 20 years after its initial release, its title is still no misnomer. The music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like "Flowers", "Temperature's Rising", and of course "Tugboat" (the band's debut single) stand the test of time and exist in an eternal now. For the first time since its original pressing, "Today" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                                                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                                  Andy says: "Today" hit in 1988 and blew everyone's minds with its echoey, minimal, slow rock. Something for The Longing...

                                                                                                                                                                                                                                                                                                                                                                  Be With Records present the first ever vinyl release of R&B star Cassie's seductive debut. A late-night classic of chilly electro-soul, the self-titled album has influenced many in the dance music fraternity since its original appearance back in 2006. Indeed, it is particularly revered by Jamie xx, Four Tet, Hot Chip, CFCF, oOoOO and How To Dress Well.

                                                                                                                                                                                                                                                                                                                                                                  Perhaps most famously, it features the slick summer smash “Me&U” (which reached No.6 in the UK charts and topped the US equivalent) but the remaining 10 tracks serve to create a minimalist R&B masterpiece. The intricate and space-filled arrangements are laced with sinister synth bleeps that wouldn’t have been out of place on an early 90s Warp record. The dark, hypnotic high ends coupled with Cassie’s ice-queen delivery made this stand out from the tired crowd of mainstream R&B at the time. It still sounds wholly and eerily unique.

                                                                                                                                                                                                                                                                                                                                                                  Like all Be With releases, this record is officially licensed and has been pressed on audiophile 180g vinyl, befitting the heaviness of the music contained within. When news of this vinyl release first broke, the R&B cognoscenti went into overdrive. Don’t miss your opportunity to own this timeless classic on the format it should've always been on.


                                                                                                                                                                                                                                                                                                                                                                  A heady mix of digi killers, digital roots, dub, electro, and unlikely vocoder magic, "Love Lives Forever" is the first ever compilation of Miami reggae-not-reggae diva Dhaima.

                                                                                                                                                                                                                                                                                                                                                                  The record gathers a collection of the original Natty Queen’s seminal ’80s and ’90s recordings, including her big 1982 chune “Reggae On Sunset,” the Ninakupenda-issued “Don’t Feel No Way,” the previously unreleased “Loving You Is My Thing,” and “Surrender” - the last song recorded before her untimely death in 2000. Then you make it to the last track for the killer "Sweat Til Your Body's Wet", a dope digi-dub stepper on the theme of "Reggae On Sunset".

                                                                                                                                                                                                                                                                                                                                                                  Pressed loud on vinyl in a long-playing format to mash up your home speakerbox.

                                                                                                                                                                                                                                                                                                                                                                  Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. "Phase III" commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

                                                                                                                                                                                                                                                                                                                                                                  The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

                                                                                                                                                                                                                                                                                                                                                                  I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout. 

                                                                                                                                                                                                                                                                                                                                                                  This new anthology on Afrosynth brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997. The six track set perfectly traces an evolution of dance music over that period, moving from the boogie/proto house heat of his biggest hits ‘Korobela’ and ‘Indaba Kabani’ (think a South African Inner City) to the MTV new wave of the more obscure ‘Victim’ and ‘Why’, to a couple of slow and slamming tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’. Virtuoso playing, super cool synth sounds and great vocals throughout.

                                                                                                                                                                                                                                                                                                                                                                  Pale Saints

                                                                                                                                                                                                                                                                                                                                                                  The Comforts Of Madness

                                                                                                                                                                                                                                                                                                                                                                    On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

                                                                                                                                                                                                                                                                                                                                                                    Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

                                                                                                                                                                                                                                                                                                                                                                    Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

                                                                                                                                                                                                                                                                                                                                                                    Emotional Rescue shares a little shine with the music ensemble Man Jumping, via this reissue of their experimental, post-minimalist meets pop debut album "Jumpcut", which will be followed by 2 special remix EPs featuring Khidja, Bullion, Reckonrong and more.

                                                                                                                                                                                                                                                                                                                                                                    Formed in 1983 out of the disbanded The Lost Jockey (Les Disques Du Crepuscule), Man Jumping's aim was to move on from the unwieldy nature of that collective to combine the 'systems music' of Steve Reich, Terry Riley, LaMonte Young etc with rock, funk, dance and world music and create a new cross over.

                                                                                                                                                                                                                                                                                                                                                                    Consisting of studied musicians and created from theory as well as technique, the liberation from formal restrictions took shape over four years that spawned 2 albums and one 12". 
                                                                                                                                                                                                                                                                                                                                                                    Released on Bill Nelson's 'Cocteau' label in 1985, Jumpcut's was critically praised but destined for more discerning ears. The 7 songs - including here a 12" mix of Aerotropics - developed from 16 stave manuscript into live recordings straight to tape, with no sequencing to keep their live feel intact.
                                                                                                                                                                                                                                                                                                                                                                    Carefully planned but made in the moment, members Charlie Seaward, Glyn Perrin, John Lunn, Orlando Gough and Shaung Tozer's legacy is demonstrably durable, a testament to their originality of thought to an idea of what might be rather than an imitation of what has been.

                                                                                                                                                                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                                                                                                                                                                    Patrick says: I'm all over this one! Operational in the mid 80s, Man Jumping took the serialist and minimalist sound of Reich et al and pushed it into the pop sphere with danceable grooves, dubby studio fx and fretless bass licks, giving us a glimpse of Talking Heads if Arthur Russell had become a full time member...

                                                                                                                                                                                                                                                                                                                                                                    MC5

                                                                                                                                                                                                                                                                                                                                                                    Kick Out The Jams - Splatter Coloured Vinyl Edition

                                                                                                                                                                                                                                                                                                                                                                      Kick Out The Jams is the debut album from the American punk outfit MC5. Originally released in 1969 the album is revered by rock fans worldwide and contains the world renowned title track which was named the 65th best hard rock song of all time by VH1.

                                                                                                                                                                                                                                                                                                                                                                      Morphine

                                                                                                                                                                                                                                                                                                                                                                      Good - Expanded Edition

                                                                                                                                                                                                                                                                                                                                                                        Morphine are proud to present their debut album ‘Good’ as an expanded edition released by Run Out Groove, including a bonus LP consisting of live and demo tracks. Morphine are considered to be one of the most unique and original rock bands to have graced the alternative scene in the 90’s, blending a mix of genres creating their own distinct sound.

                                                                                                                                                                                                                                                                                                                                                                        The album marked the start of a stellar career and appealed to a wide audience because of its ability to cross genres and styles so uniquely. 


                                                                                                                                                                                                                                                                                                                                                                        This debut album by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are coloured with carefully-tuned atmospherics; individual flashes of brilliance are bound into the album’s bigger picture. He’s part of London’s young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It’s playing with those – along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch – which has honed his playing and grown his ideas. It’s made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it’s also a testament to hard-earned, head-turning musical virtuosity.

                                                                                                                                                                                                                                                                                                                                                                        Donnie & Joe Emerson

                                                                                                                                                                                                                                                                                                                                                                        Dreamin' Wild

                                                                                                                                                                                                                                                                                                                                                                          Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.

                                                                                                                                                                                                                                                                                                                                                                          Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.

                                                                                                                                                                                                                                                                                                                                                                          This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary Rock and Roll Farmers, premiering on LightInTheAttic.net.

                                                                                                                                                                                                                                                                                                                                                                          “‘Baby’ has been a staple on just about every playlist / mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.” - Ariel Pink.

                                                                                                                                                                                                                                                                                                                                                                          Lightning Bolt

                                                                                                                                                                                                                                                                                                                                                                          Lightning Bolt

                                                                                                                                                                                                                                                                                                                                                                            “Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing.” - LA Times

                                                                                                                                                                                                                                                                                                                                                                            Since their first moment it seems like they’ve been as electric as their name suggests. ‘Lightning Bolt’, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that’s been described as most feeling like being at one of their shows. It’s difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud and the riffs repeated become mesmerizing as they warp slowly thru the songs.

                                                                                                                                                                                                                                                                                                                                                                            ‘Lightning Bolt’ has not been available on vinyl since its original pressing of 740 in 1999.

                                                                                                                                                                                                                                                                                                                                                                            First time ever released as a double LP. LP1 is the original release, LP2 was recorded at the same time and has never been issued on vinyl.

                                                                                                                                                                                                                                                                                                                                                                            Packaged in a two-sided silkscreen wrap using original designs by Brian Chippendale and printed by Crosshair.

                                                                                                                                                                                                                                                                                                                                                                            Uncle Tupelo

                                                                                                                                                                                                                                                                                                                                                                            Anodyne - Coloured Vinyl Edition

                                                                                                                                                                                                                                                                                                                                                                              This is the fourth studio album from the alternative country band, originally released in 1993. The album came after the exit of drummer Mike Heidorn and the addition of three new members: John Stirratt, Ken Coomer and Max Johnston. 

                                                                                                                                                                                                                                                                                                                                                                              Galaxie 500

                                                                                                                                                                                                                                                                                                                                                                              On Fire

                                                                                                                                                                                                                                                                                                                                                                                "On Fire" is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder", the closest a song can come to waves crashing on a beach in songform. Lyrically inconsequential, with a chorus composed entirely of 'la's', the track's power lies in a systematic build and break of intensity that reaches a spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, "On Fire" sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm", "Strange", and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, "On Fire" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                                                                                                                                                                                                                                                                                Tino Contreras

                                                                                                                                                                                                                                                                                                                                                                                Musica Infinita

                                                                                                                                                                                                                                                                                                                                                                                Gilles Peterson launches his new imprint Arc Records with a reissue of cult record “Musica Infinita” by Mexican drummer and composer Tino Contreras. A psychedelic, experimental jazz record, originally released in 1978, it marked a daring step forward by the Mexico City-based musician, and is now re-released for a chance to get the widespread dues it deserves. A limited private press, copies of the original are highly sought after, despite the drummer being much overlooked in both his home country as well as abroad, with a career that started in the 1950s, and which has seen him share stages with many of the greats – including Dave Brubeck, Cannonball Adderley and the Duke Ellington Orchestra.

                                                                                                                                                                                                                                                                                                                                                                                The story behind Peterson re-releasing the record is serendipitous. Several years ago, he bought a copy before a gig in Japan, and it soon became one of his most cherished discoveries; he was awed by its otherworldly blend of jazz fusion and psychedelia. Years later, booked to play at a festival in Mexico, Peterson was introduced to Carlos Icaza, a record collector and musician, who also had a copy of the record – in fact, he has two – and to whom it was also an extremely special album. To Peterson’s delight, Icaza suggested they meet up with Contreras who, at 95, is still active and based in Mexico City. Soon enough, the three of them were sat down together and agreed upon a plan to re-issue “Musica Infinita”.

                                                                                                                                                                                                                                                                                                                                                                                The album is the product of a long, varied musical development for Contreras, and of his productive partnership with Estrella Newman, a scholar who championed pre-Columbian culture and Mexico’s experimental traditions, such as the micro-tonalism pioneered by musician and academic Julián Carrillo. On “Musica Infinita”, Contreras filtered these local traditions through an American-influenced jazz lense, his playing and compositions honed through formative experiences seeing the likes of Art Blakey and Shelly Manne, decades of touring internationally, and of being part of a series of orchestras and ensembles central to Mexico’s jazz history.

                                                                                                                                                                                                                                                                                                                                                                                By the time he recorded “Musica Infinita”, Contreras had been a part of the Luis Arcaraz orchestra, had led a series of outfits to record albums for the Musart label, been part of recordings for the Polydor, Typic and Berta imprints, and had introduced Mexico to the Dominican Republic’s merengue rhythm, through his 1953 recording debut with an orchestra, the ‘Volado por los merengues’ 10”.

                                                                                                                                                                                                                                                                                                                                                                                The group name adopted for the album, Quinto Sol, reflects the influence of the Aztec Calendar, a concept which Contreras and Newman were inspired to build their shared musical project around. It’s a concept based around an Aztec carved stone structure, known as the Sun Stone, discovered in the late eighteenth century, believed to outline five periods – or suns – which explain the transformations of the earth. Inspired by a nighttime visit to the Pyramid of the Sun, in the ancient city of Teotihuacan, Contreras decided to adopt a group name in reference to the fifth period of the Aztec Calendar. Thus, he picked Quinto Sol – or, “Fifth Sun”.

                                                                                                                                                                                                                                                                                                                                                                                Re-issued for the first time, it’s a chance to get acquainted with an especially bright moment for an artist whose legacy is surely due for greater attention. Bridging strongly-felt Mexican tradition with a grounding in a primo jazz schooling, “Musica Infinita” channels grand concepts into a visceral musical experience.

                                                                                                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                                Ltd LP Info: Second issue on 140 gram vinyl with obi-strip.

                                                                                                                                                                                                                                                                                                                                                                                With a West Coast tour looming and problems with the recording (burnt singers, overheated tape reels, the final mix getting lost in the post etc), Chromatics' Johnny Jewel decided to run off a few demo CDs of "Night Drive" to sell at the band's shows anyway. However, as soon as the press and bloggers got hold of copies, the album became in overnight sensation. In need of money to get Italians Do It Better going (this was 2007 remember), and with big demand for copies, Jewel decided to release this demo version as a full album... Which is how it remained - until now! When that lost final mix finally turned up 18 months later (!), it was decided to remaster the whole production, add the tracks missed off the original demo CD copies and press up some vinyl too.

                                                                                                                                                                                                                                                                                                                                                                                The record opens at the end of a long night with our heroine making a phone call to her lover. In the background through the muffled walls of a sweaty nightclub you can hear music playing. She drives to the coast to clear her head, with "Night Drive" on the car stereo. As the hi-hat attacks your speakers, her hair blows in the breeze. This is the opening of the record that continues to define Chromatics' unique sound. The music is drenched in reverb echoeing the death of hope and the price of nostalgia. The most powerful example of this is Chromatics daring take on the Kate Bush classic, "Running Up That Hill," a favorite amongst fans and critics alike. With ethereal songs like "Tomorrow Is So Far Away", "Tick Of The Clock", & "Let's Make This A Moment To Remember", they give the listener the space to breathe. We get a glimpse of their chequered past with the post punk sheen of Joy Division on "Healer".

                                                                                                                                                                                                                                                                                                                                                                                The lost side of the album is dark and abstract. Opening with the almost funerial "Shining Violence". Where detuned analog synths collide and struggle to hang onto a fading melody. Followed by the sleeper hit, "Circled Sun", and the Vangelis-inspired reflection of life's duality in "The Gemini". "Night Drive" closes with an arpeggiated musical refrain from the beginning of side one. "Acelerator" reinterprates elements of the chord progression from "Night Drive" while leaning heavily on the gear shift. As painted lines in the road begin to strobe, Chromatics propels full speed ahead into an uncertain future.

                                                                                                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                                2xColoured LP 2 Info: Ivory coloured vinyl repress.

                                                                                                                                                                                                                                                                                                                                                                                Lydia Lunch & Rowland S. Howard

                                                                                                                                                                                                                                                                                                                                                                                Shotgun Wedding

                                                                                                                                                                                                                                                                                                                                                                                  Out of print on vinyl since it’s 1991 release, this re-press is a must have. Lydia Lunch: New York City’s provocateur, poet, singer, author, performer and actress. Rowland S. Howard is no doubt best known for his work with the Birthday Party, his discordant guitar is an essential factor in their sound. Featuring production by JG Thirwell (Foetus, Manorexia..) and drums by Jim Sclavunos (Bad Seeds, Grinderman..) it’s a veritable who is who of the post punk / no wave scene of the time. With both parties at the height of their respective talents, this is an alternative rock gem, yet however maintains an atmosphere of eerie beauty throughout.

                                                                                                                                                                                                                                                                                                                                                                                  The Replacements

                                                                                                                                                                                                                                                                                                                                                                                  Pleased To Meet Me - Coloured Vinyl Edition

                                                                                                                                                                                                                                                                                                                                                                                    This is the only album released by the band as a trio, before Bob ‘Slim’ Dunlap became part of the band. This album portrayed a move through other genres. The album was recorded in Memphis so perhaps injected a soul vibe to the album. Including tracks such as ‘Alex Chilton’ this album was loved by critics. 

                                                                                                                                                                                                                                                                                                                                                                                    The Replacements

                                                                                                                                                                                                                                                                                                                                                                                    Don't Tell A Soul - Coloured Vinyl Edition

                                                                                                                                                                                                                                                                                                                                                                                      Originally released in 1989, this is the sixth studio album from the Replacements, but the first with Bob ‘Slim’ Dunlap on guitar, replacing Bob Stinson in 1987. Featuring their hit single ‘I’ll Be You’, this album received high praise across the board, with Rolling Stone stating that the album was full of Westerberg’s ‘sharp-tongued wordplay and idiosyncratic musical structures’.

                                                                                                                                                                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                                      Coloured LP Info: RSD store exclusive 140 gram clear vinyl.

                                                                                                                                                                                                                                                                                                                                                                                      Frank Zappa

                                                                                                                                                                                                                                                                                                                                                                                      The Hot Rat Sessions

                                                                                                                                                                                                                                                                                                                                                                                        The original 1969 Frank Zappa album was the first record to be recorded on a prototype 16-Track Tape Machine. Self-described as a “Movie For Your Ears,” it was technically the second solo outing for the composer and the album that put FZ on the map as a guitar player.

                                                                                                                                                                                                                                                                                                                                                                                        A single disc LP of the original album, pressed on hot pink vinyl, pressed at Pallas.

                                                                                                                                                                                                                                                                                                                                                                                        Queens Of The Stone Age

                                                                                                                                                                                                                                                                                                                                                                                        Era Vulgaris - Vinyl Reissue

                                                                                                                                                                                                                                                                                                                                                                                          2007's Era Vulgaris finds QOTSA touching on a variety of styles, incorporating electronic and acoustic textures alongside the band's trademark heavy rock crunch. The album includes such fan favorites as "Sick, Sick, Sick," "3's & 7's" and "Make It Wit Chu," with guest appearances by Julian Casablancas of The Strokes and frequent QOTSA collaborator Mark Lanegan.

                                                                                                                                                                                                                                                                                                                                                                                          The previous LP edition was on 3x 10” LPs, this LP edition marks the first-ever release of Era Vulgaris on 12" vinyl.

                                                                                                                                                                                                                                                                                                                                                                                          Queens Of The Stone Age

                                                                                                                                                                                                                                                                                                                                                                                          Lullabies To Paralyze - Vinyl Reissue

                                                                                                                                                                                                                                                                                                                                                                                            Queens of the Stone Age's 2005 release Lullabies to Paralyze debuted at No. 5 on the Billboard album charts. Along with the hits "Little Sister" and "Burn the Witch," Lullabies to Paralyze features guest appearances by Jack Black, ZZ Top's Billy Gibbons, Shirley Manson of Garbage and Jesse Hughes of the Eagles of Death Metal.

                                                                                                                                                                                                                                                                                                                                                                                            The new vinyl release of Lullabies to Paralyze features a gatefold jacket with the album's original album art in the U.S. for the first time, and includes the original three vinyl bonus tracks: "Infinity," "Like A Drug" and "Precious And Grace."

                                                                                                                                                                                                                                                                                                                                                                                            They Say: 'Documentary and industrial underlays for current themes of modern life'. We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

                                                                                                                                                                                                                                                                                                                                                                                            This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. "The Now Generation (Percussive Underscores)" is comfortably one of the very best library records full stop.

                                                                                                                                                                                                                                                                                                                                                                                            The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and "Panama" - before slowing down to a woozy pace on "Inorganic Matter". "African Nightclub" sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal 'Cosmo Galactic Prism' mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of "Grease Plant" before "Southerly" lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

                                                                                                                                                                                                                                                                                                                                                                                            For us, though, it’s all about the opener to side B: "Mechanical Heart". Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as 'Guitar and percussion, light industrial underlay'. Hmmm. How about, 'after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings'. Just wait for those drums at the 3 minute mark…

                                                                                                                                                                                                                                                                                                                                                                                            The beatless ambience and menacing stabs of the proto-electro "Chemical Threat" follows, before the open drums and incredible fills of the metronomic "Steady Going" and fantastically monotonous funk breaks of "Nepal Trek" round out this sensational set.

                                                                                                                                                                                                                                                                                                                                                                                            This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

                                                                                                                                                                                                                                                                                                                                                                                            The audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.


                                                                                                                                                                                                                                                                                                                                                                                            Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

                                                                                                                                                                                                                                                                                                                                                                                            We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

                                                                                                                                                                                                                                                                                                                                                                                            For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

                                                                                                                                                                                                                                                                                                                                                                                            The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

                                                                                                                                                                                                                                                                                                                                                                                            As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

                                                                                                                                                                                                                                                                                                                                                                                            And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                                                                                                                                                                                                                                                                                                                                            Originally released in 1976, "The All American Powerhouse" is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

                                                                                                                                                                                                                                                                                                                                                                                            They Say: 'Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style'.

                                                                                                                                                                                                                                                                                                                                                                                            We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

                                                                                                                                                                                                                                                                                                                                                                                            Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

                                                                                                                                                                                                                                                                                                                                                                                            Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

                                                                                                                                                                                                                                                                                                                                                                                            As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                                                                                                                                                                                                                                                                                                                                                            Various Artists

                                                                                                                                                                                                                                                                                                                                                                                            Breath Of Danger (Themes)

                                                                                                                                                                                                                                                                                                                                                                                            "Breath Of Danger" was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

                                                                                                                                                                                                                                                                                                                                                                                            They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

                                                                                                                                                                                                                                                                                                                                                                                            We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

                                                                                                                                                                                                                                                                                                                                                                                            Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

                                                                                                                                                                                                                                                                                                                                                                                            Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

                                                                                                                                                                                                                                                                                                                                                                                            Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

                                                                                                                                                                                                                                                                                                                                                                                            As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                                                                                                                                                                                                                                                                                                                                                            Various Artists

                                                                                                                                                                                                                                                                                                                                                                                            The Hunter (Drama Suite) / Adventure Story (KPM)

                                                                                                                                                                                                                                                                                                                                                                                            "The Hunter (Drama Suite) / Adventure Story" is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

                                                                                                                                                                                                                                                                                                                                                                                            They Say: 'Composite themes and incidental cues for dramatic application'.

                                                                                                                                                                                                                                                                                                                                                                                            We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like "Beat Incidental", this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

                                                                                                                                                                                                                                                                                                                                                                                            Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

                                                                                                                                                                                                                                                                                                                                                                                            Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

                                                                                                                                                                                                                                                                                                                                                                                            The audio for "The Hunter (Drama Suite) / Adventure Story" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                                                                                                                                                                                                                                                                                                                                            Fred Neil

                                                                                                                                                                                                                                                                                                                                                                                            Fred Neil

                                                                                                                                                                                                                                                                                                                                                                                              A moody NYC masterpiece from the Village circa ‘66. New York folk artist Fred Neil’s eponymous second album may not have been a sales smash, but it inspired countless contemporaries, from Jefferson Airplane to Crosby, Stills and Nash, to Harry Nilsson. It was the latter’s cover of ‘Everybody’s Talkin’,’ featured in the Midnight Cowboy soundtrack, that garnered Neil his greatest notoriety, but the album is full of shimmering, surreal gems, like ‘The Dolphins’ and the stunning ‘Faretheewell.’ Neil disappeared into reclusiveness not long after, but his legacy as a thoughtful, complex songwriter lives on.

                                                                                                                                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                                              Coloured LP Info: Clear Vinyl.

                                                                                                                                                                                                                                                                                                                                                                                              Leon Thomas' debut solo recording after his tenure with Pharoah Sanders is a fine one. Teaming with a cast of musicians that includes bassist Cecil McBee, flutist James Spaulding, Roy Haynes, Lonnie Liston Smith, Richard Davis, and Sanders (listed here as "Little Rock"), etc. Thomas' patented yodel is in fine shape here, displayed alongside his singular lyric style and scat singing trademark. The set begins with a shorter, more lyrical version of Thomas' signature tune "The Creator Has a Master Plan," with the lyric riding easy and smooth alongside the yodel, which bubbles up only in the refrains. It's a different story on his own "One," with Davis' piano leading the charge and Spaulding blowing through the center of the track, Thomas alternates scatting and his moaning, yodeling, howling, across the lyrics, through them under them and in spite of them. It's an intense ride and one that sets up the glorious "Echoes." This tune is Thomas at his most spiritual and uplifting, carrying the mysterious drift of his tune entwined with Spaulding's flute and a set of Pan pipes, fluttering in and out of the mix before his wail comes to the fore as a solo. The end of side one reaches into Thomas' past (he sang with everyone from Count Basie to Grant Green and Mary Lou Williams) for a highly original read of Horace Silver's classic "Song for My Father." Thomas imbues the tune with so much emotion, it's a wonder he can keep it under wraps. Side two is more free from in nature with "Damn Nam," a near rant, but one possessed with melodic vision and harmonic invention with this band. There's also the deeply moving "Malcolm's Gone," a co-write between Thomas and Sanders that features the latter's gorgeous blowing, hard and true in the middle of the mix, and a wildly spiritual Eastern vibe coming through in the improvisation. It's the longest track on the record, and one of the most criminally ignored in Thomas' long career. The album closes with Bell and Houston's "Let the Rain Fall on Me." It's a shimmering straight jazz number with a beautiful piano solo by Smith. It sends out a visionary album out on a sweet, soulful note. Ultimately, this is among Thomas' finest moments on vinyl, proving his versatility and accessibility to an audience who, for too long already, had associated him too closely with the avant-garde and free jazz.

                                                                                                                                                                                                                                                                                                                                                                                              The Chameleons

                                                                                                                                                                                                                                                                                                                                                                                              Script Of The Bridge - Remastered Edition

                                                                                                                                                                                                                                                                                                                                                                                                The Chameleons seminal debut album ‘Script of the Bridge’ restored and re-mastered for vinyl at Abbey Road Studios, London. The package contains two heavyweight (180g) vinyl discs together with a free digital download code.

                                                                                                                                                                                                                                                                                                                                                                                                The two 12” discs are in white poly bags inserted into spined LP sleeve, featuring exclusive new artwork by The Chameleons guitarist Reg Smithies. 

                                                                                                                                                                                                                                                                                                                                                                                                The Chameleons

                                                                                                                                                                                                                                                                                                                                                                                                What Does Anything Mean Basically? - Remastered Edition

                                                                                                                                                                                                                                                                                                                                                                                                  The Chameleons second studio album ‘What Does Anything Mean? Basically’
                                                                                                                                                                                                                                                                                                                                                                                                  re-mastered for vinyl in Spring 2018.

                                                                                                                                                                                                                                                                                                                                                                                                  The album is presented on heavyweight clear vinyl in a gatefold sleeve with printed inner bag. The iconic cover art has been re-worked and updated by guitarist Reg Smithies.

                                                                                                                                                                                                                                                                                                                                                                                                  This packaging is restricted to one thousand copies, with any future runs only being available in regular sleeve.

                                                                                                                                                                                                                                                                                                                                                                                                  The Chameleons

                                                                                                                                                                                                                                                                                                                                                                                                  Why Call It Anything - Special Edition

                                                                                                                                                                                                                                                                                                                                                                                                    The Chameleons fourth and final studio album receives its first ever outing on vinyl, with the initial pressing on 2 x heavyweight coloured discs presented in a gatefold sleeve.

                                                                                                                                                                                                                                                                                                                                                                                                    Why Call It Anything was produced by David M Allen (Strange Times) and was the band’s first full studio recordings after a fifteen-year break.

                                                                                                                                                                                                                                                                                                                                                                                                    Re-mastered for vinyl, the album was cut at Abbey Road by engineer Geoff Pesche whose impressive CV includes cutting the lacquer for the best selling 12” of all time, New Order’s Blue Monday.

                                                                                                                                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                                                                                                    2xColoured LP Info: Orange and blue coloured vinyl.

                                                                                                                                                                                                                                                                                                                                                                                                    The album is among Fela’s most courageous responses to the Nigerian army’s destruction of Kalakuta on 18 February 1977. During the attack, Fela’s mother, aged 78, a veteran of Nigeria’s struggle for independence from British colonial rule and an early campaigner for Nigerian women’s rights, was thrown out of an upstairs window, fracturing a leg. Fela believed that the assault led to his mother’s death 14 months later