FEATURING AN EXCLUSIVE NEW INTERVIEW WITH SIR PAUL McCARTNEY

Persuasive, captivating and bursting with insight, this dual biography by acclaimed journalist Jim Windolf dives into the surprisingly supportive, occasionally rivalrous, always fertile relationship between Bob Dylan and the Beatles.

Few artists have shaped pop culture as profoundly as the Beatles and Bob Dylan. In Where the Music Had to Go, Jim Windolf offers a new, persuasive interpretation of how two of the twentieth century's greatest recording artists influenced one another - and reveals how their apprenticeships, accomplishments and legacies are uncannily intertwined.

From Dylan's early dismissal of the Beatles as being for 'teenyboppers' to his rapid acknowledgment of their talent, the book captures the pivotal moments that pushed Dylan to 'go electric' and inspired the Beatles to deepen their lyrics. Packed with vivid anecdotes (the Beatles rehearsing Dylan songs; Dylan spending hours at Lennon's childhood home), the book paints a picture of a relationship full of camaraderie, rivalry and mutual evolution.

Windolf's meticulous research uncovers hidden gems, peeling back layers of history to reveal the stories fans didn't even know they were missing.

From Lennon's and McCartney's lyrical transformations to George Harrison's growth as a songwriter, the book showcases the ripple effects of the Beatles-Dylan connection. More than a music biography, this is a front-row seat to the forces that shaped the sound of a generation.

Jim Jones All Stars are arguably one of the most exciting acts on the circuit today, All Stars are a bubbling swamp curse of unholy rhythm - Led by Jim Jones and joined by former Jim Jones Revue members Gavin Jay (bass) and Elliot Mortimer (piano and keyboards), The Jim Jones All Stars are augmented by guitarist Carlton Mounsher, drummer Aidan Sinclair, Backing Singer Ali Jones and the double-Sax attack of Stuart Dace, and Tom Hodges.

The band's debut album, 'Ain't No Peril', was released in September 2023 to universal praise and are now back with their sophomore studio album 'Cat Fight', produced by Chris Robinson (The Black Crowes).

TRACK LISTING

1. Make It Rain
2. Exiled
3. Born 2 Ride
4. I'm On Fire
5. Goin' Higher
6. Bekolah
7. Cat Fight
8. Gashman
9. Drink Me Pt. 1
10. Chubby
11. L U V U
12. Let U Go

Jim Noir's last LP 'AM Jazz' was critically acclaimed, orbiting the top 10 of many best albums of the year lists, including the number 2 spot in our very own chart back in 2020.

In the intervening years, Noir has managed to release a criminally underrated masterpiece, 2023's ‘Rotate’ LP, under the ‘Co-Pilot’ moniker, with long time collaborator Leonore Wheatley (International Teachers of POP/Soundcarriers), along with 18 E.P.'s released direct to fans via Patreon.

'Programmes for Cools' draws from the best cuts from these E.P.'s, bookended with instrumental intermissions which evoke Noir's excursions into computer game music (Little Big Planet), with an orchestrated focus, as if scored by John Barry with Mort Garson waving the conductor's baton at a vintage synth ensemble.

The last time Noir embarked on a similar creative exorcism was for 2012's Jimmy's Show LP which selected choice cuts from 18 E.P. 's released via straight to fan subscription over as many months. The resulting album is one of his most lauded and beloved by fans, with the vinyl now selling for silly money on Discogs.

Programmes for Cools is Jimmy's Show's spiritual successor, idiosyncratic, other worldly and brimming with timeless melodies. Noir's influences seep through the track list, wrapped with a haunting, dreamlike delivery.

First single 'Out Of Sight' is a Fleetwood Mac meets Selected Ambient Works era Richard D James, four to the floor banger. Already a fan favourite, it propels Side A forward with a somewhat misplaced optimism, much like Neil Young's 'Walk On' starting On the Beach.

Side B is more esoteric, exemplified by 'Fireworks’which includes lyrics and vocals from Marie Claude Dequoy,produced with the wooze of golden era Boards of Canada. Elsewhere, influences as disparate as Stevie Wonder, on the wonky clav funk of 'The Fountain', and Ian Brown 'I think I found it' illustrate Noir's disregard for musical straightjackets (the latter may have the most unapologetic baggy, hypnotic groove since the Mondays' 'Halleluiah').

As the album swells to its conclusion, via the epic Led Zeppelin meets the Warhol clique 'Morning Light’and the heart tugging finale of 'Motorbike’(the first song released from the most recent run of E.P.'s), there is a sense of completion and finality... ‘This is the last Jim Noir album. There are no more Jim Noir albums after this one. This time I'm serious. It's been the hardest I've ever worked on anything. I think I have created my own Be Here Now...Sorry.’ Joking and hyperbole aside, the album has more of an Abbey Road feel, and needs to be experienced in one sitting. If the infamous Davyhulme prankster is to be believed and this is his final outing, then you could wish for a more fitting album. - NM

TRACK LISTING

1.start
2.out Of Sight
3.the Fountain
4.these Are Things
5.manchester Cat
6.longsword
7.harum Scarum
8.bit 42
9.one More Hand
10.i Think I Found It
11.fireworks
12.morning Light
13.motorbike
14.close

Mr Thing : "Quick story and some background on the 45 of mine that Koco posted yesterday in his stories, some of you know about this but here’s the whole scoop!

Around the time Biz Markie’s second album was coming out Westwood used to play Tribute To Scratching Part 2 using all Jackson’s/Michael Jackson samples - absolutely amazing but never came out for obvious reasons. Fast forward a few years and I’m doing my debut set on the show and I asked about it and if I could get a copy - he was very cool about it but said he couldn’t let me have it, which was fair enough, although he DID play it on the show when it aired when he interviewed me. Fast forward a bit more and the Hot Chillin’ 12” comes out and even that is what sounds like a radio rip pressed on the record.

September 2005 I’m working on a samples mix and I decided to remake it from the records and i put it as a bonus track on the end of mix. It was recorded on my VS-1680 so it’s not perfect or anything as it’s supposed to be a raw DJ Track.

I mixed it again and had a dub cut of it so I could play it out from @thecarverystudio but was never really happy with the mix down I did (my hearing is pretty damaged and I’ve got next to no high frequencies).

Fast forward again and Jim Sharp comes to the rescue and mixes and masters it for me from the original parts, which i somehow still had! It sounds great now and I’m super happy it’s finally coming out soon on Fridays Funky 45s."

TRACK LISTING

A1. Mr Thing - Tribute To Cool V Pt. 2
B1. Jim Sharp - Where You Are

Harlem’s Capo, Jim Jones, brings 'At the Church Steps' to vinyl for the very first time — and it’s more than just a reissue. A founding member of The Diplomats, platinum-selling artist, and a pioneer of NYC street rap, Jones has long been a voice of the hustle, style, and raw authenticity that define East Coast hip-hop. With over 2 million records sold and a deep-rooted influence on music and culture, 'At the Church Steps' is now set to become a collector’s essential — reimagined for vinyl in a way no fan has ever experienced.

This limited-edition, audiophile-grade 2LP set is crafted for true connoisseurs. Pressed on premium Neotech 100% virgin vinyl, the release uses exclusive mastering technology that employs predictive analysis to correct groove deformation — delivering unmatched clarity, fidelity, and warmth. Every detail, from the sonic depth to the physical finish, speaks to the cult following Jones commands. Tailored for both the streets and the crates, this vinyl is a tribute to legacy and craftsmanship. Store it upright, keep it out of direct sunlight — and know you’re holding a piece of hip-hop history made to last.

TRACK LISTING

1. Jomo
2. Genesis
3. Seen It All (feat. Big Cruz)
4. Make It Out (feat. Ron E)
5. Walking On Business (feat. Keen Streetz & Conway The Machine)
6. White Lines (feat. Dyce Payso)
7. Call On Me (feat. Dyce Payso)
8. Opp Thot (feat. Fabolous & Dramab2r)
9. That Sh!T Still In Harlem (feat. Suzi)
10. Dope Boy (feat. Keen Streetz)
11. Cinema (feat. Fivio Foreign, Dyce Payso & Keen Streetz)
12. Ray Ray Skit
13. Back In My Bag

SIDE D
D1. What's Going On (feat. Dave East)
D2. Back In The Day (feat. Maino & Riot Angel)
D3. End Of Summer (feat. ALLSUMMERLONG)
D4. Church Steps (feat. Dr. Benjamin Chavis, Denise Weeks & RELL)

Originally released in 1995, Jimmy Somerville’s 'Dare To Love' stands as a powerful statement of pride, passion, and pop brilliance, carried by one of the most unmistakable voices in modern music.

'Dare To Love' embodies Somerville’s gift for marrying political conviction with irresistible melodies. Produced by Stephen Hague and other longtime collaborators, the album traverses bass-laden house grooves, slower, dubby reggae numbers and classic pop ballads.

Featuring the UK Top 30 hits 'Heartbeat' and 'Hurt So Good', along with the poignant 'Safe in These Arms', Dare To Love explores love, loss, and identity, both on and off the dancefloor.

TRACK LISTING

LP Tracklisting:
1. Heartbeat
2. Hurt So Good
3. Cry
4. Lovething 
5. By Your Side
6. Dare To Love
7. Someday We’ll Be Together
8. Alright
9. Too Much Of A Good Thing
10. A Dream Gone Wrong
11. Come Lately
12. Safe In These Arms
13. Because Of Him
14. Nature Boy
15. Up And Away
16. Sorrow
17. Step Inside
18. Cherish
19. DJ Of Love
20. No Suffering
21. Do You Wanna Funk?

CD Tracklisting:
1. Heartbeat
2. Hurt So Good
3. Cry 
4. Lovething
5. By Your Side 
6. Dare To Love 
7. Someday We’ll Be Together 
8. Alright
9. Too Much Of A Good Thing
10. A Dream Gone Wrong
11. Come Lately
12. Safe In These Arms
13. Because Of Him
14. Nature Boy
15. Up And Away
16. Telling Lies
17. Step Inside
18. Nothing Said, Nothing Done
19. Been So Long (Remix)
20. Do You Wanna Funk? [Original Full Length Mix]
21. Heartbeat (Biff 12” Remix)
22. Safe (DJ Tonka 12 Inch)
23. By Your Side (Miss You Like Crazy Mix)
24. Heartbeat (E-Smoove Downtown Underground)
25. Hurt So Good (12” Beatmasters Lovers Mix)
26. Love You Forever (Remix)
27. Heartbeat II
28. Safe (Todd Terry 7 Inch)
29. Hurt So Good (Sly & Robbie Remix - Version 1)
30. By Your Side (Stripped Mix)
31. Because Of Him (Celtic Version)

This year, Finnish musician and composer Jimi Tenor celebrated his 60th birthday. He couldn't have imagined a better place to do so than on stage, and so Tenor came to Hamburg with his band in March, not only to celebrate his personal anniversary, but also to record new music. Partly with Hamburg producer Tobias Levin at his Electric Avenue Studio, and partly at Lauri Kallio's Kiikala Center of the Universe Studio Complex, 'Selenites, Selenites!' - the first album by the Jimi Tenor Band - was recorded in spring 2025.

Tenor can now look back on numerous collaborations, including with Tony Allen, UMO Helsinki Jazz Orchestra,Kabukabu and Freestyle Man. Having attracted considerable attention in the 1990s with his idiosyncratic fusion of lounge jazz and acid techno on Sähko and Warp Records, he turned his attention increasingly to African music in the years that followed. Yet there are no genre boundaries for the multi-instrumentalist - he effortlessly combines a wide variety of styles, from Electronica and Afrobeat to Spiritual Jazz, with his unmistakable musical signature to create a unique musical experience.

During the pandemic years, Tenor decided to look for fellow musicians in his Finnish hometown of Helsinki toform a new band. As it was impossible to go to a rehearsal room or studio, the sessions took place in Jimi's kitchen as pure a cappella rehearsals. To this day, all band members are singing at the live concerts. In recent years, the band consisting of Eeti Nieminen, Heikki Tuhkanen, Ekow Alabi Savage, Lauri Kallio and Jimi Tenor has already played numerous club and festival gigs together, but had not yet released an album.

Recording for the band's debut began at Lauri Kallio's studio in Kiikala, Finland - an abandoned house in the middle of nowhere that has been converted into a recording studio aptly named Kiikala Center of the Universe Studio Complex. While the band was recording, Lauri's parents cooked for them using ingredients from the Finnish forest: chanterelle mushrooms and moose meat. After two initial sessions, the recordings were sent to Bureau B in Hamburg, who invited the band to join Tobias Levin at his Electric Avenue Studio for another session lasting several days.

As the band had already tried out and internalised most of the songs through live performances, the recordings went smoothly and often required only a single take. This quickly resulted in the eight songs that now make up 'Selenites, Selenites!' As so often in the world of Jimi Tenor, it's about space, dimensions and - of course - love, conveyed in that energetic and captivating way that makes it impossible to resist this music. Also featured on the track 'Shine All Night' is Tenor's second collaboration with Florence Adooni, the queen of Ghanaian frafra gospel.

'Selenites, Selenites!' is an impressive debut that showcases a group of virtuoso musicians in absolute joy of playing and exploring new sonic connections. This is not just any Afro-jazz album, but an extraordinary journey into a raw and unadulterated sound, as if you were standing right in front of the stage while listening to the record.

TRACK LISTING

1. Selenites
2. Some Kind Of Good Thing
3. Sunny Song
4. Universal Harmony
5. Alice In Kumasi
6. Looking For The Sunshine
7. Shine All Night
8. Furry Dice

Jim Legxacy announces the long-awaited LP release of his mixtape, black british music (2025) via XL Recordings. A rapper with intensity, a vocalist with passion and a producer who harnesses nostalgia to command the future, the project is poised to earn era-defining significance. Critical to UK music in 2025, Jim’s prolific output forever tells an important story. Always ahead of the game, his songwriting holds a mirror up to the Black British experience in which himself and his peers are reflected. He stands proudly but humbly at the helm of a movement; a new generation of storytellers and pioneers carving a path out of the comfort of the underground, always pushing upwards. Creating space for complexity, sensitivity, and experimentation, black british music (2025) not only reshapes expectations of what UK music can sound like, but what it can stand for.

TRACK LISTING

Context
Stick
New David Bowie
Sun (Jim Legxacy & Fimiguerrero)
'06 Wayne Rooney
Issues Of Trust
Father
D.b.a.b
Big Time Forward
Sos
I Just Banged A Snus In Canada Water
Dexters Phone Call (Jim Legxacy & Dexter In The Newsagent)
3x (Jim Legxacy & Dave)
Tiger Driver '91
Brief

Take cover from this deadly Xmas-funk album cut by cruel crooner Jimmy Jules, devastating diva Jackie Spencer, and backed by the venomous Nuclear Soul System. Released on Jules’ Jim Gem label in 1977, the record vanished in disco’s mushroom cloud, achieving grail status and inspiring a Sharon Jones’ holiday album in the fall out. Silent night? Soulful fright!

TRACK LISTING

1. Xmas Done Got Funky
2. The New Year
3. It's Impossible
4. Time's Moving On
5. The Macaroni Man
6. Too Many Horses
7. Come And Get Your Gift

A year on from Aura Safari and Jimi Tenor's Sensory Blending and DJs and dancers are still lost in its summer charms, but there have also been a series of standout remixes taken from the originals, which now get assembled on one vital 12": Sensory ReBlending features Willie Graff, Reverso 68 Dub, Jazz N Palms and Luminodisco.

First up is Ibiza favourite Willie Graff, who tackles the spellbinding original 'Bewitched By The Sea'. He brings a signature Balearic beat perfect for cruising around the island as the sun blazes with its dubby, swaying drums and more prominent vocal, all brought to life with delicate percussion and gentle synth pulses.?Label regular Federico Costantini aka Luminodisco also returns with a mature post-Balearic touch that douses the track in an ocean of dubby echo. Gorgeous Spanish guitars and jumbled percussion form a life raft which floats out to sea under the sultry wind motifs.

Reverso 68 is the studio-based project of Pete Herbert and Phil Mison, and over the last decade-plus, they have mastered the art of making music for swimming pools. Their version of 'Your Magic Touch' is low-slung and deep with a mid-tempo four-four groove sprinkled with tropical percussion. The muted chords are gloriously dreamy and the whole thing is perfect for early evening warm-ups.

Jazz N Palms is Hell Yeah family and is currently riding a wave of acclaim for his See Rodes (Revisades) album on his own Jazz N Palms Recordings. He flips 'Lunar Wind' into poolside perfection with heart-melting sax notes and rippling keys, soothing female tones and dubby breaks. It's a perfect soundtrack to heavenly ascent.

These remixes perfectly extend the soul-soothing pleasures of Sensory Blending with plenty of fresh but sympathetic perspective.

TRACK LISTING

A1. Bewitched By The Sea (Willie Graff Remix)
A2. Your Magic Touch (Reverso 68 Dub)
B1. Lunar Wind (Jazz N Palms Remix)
B2. Bewitched By The Sea (Luminodisco Remix)

Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance, while Anika admired Jim as a mentor who had stayed true to his unique vision throughout his career. This mutual respect led to a creative collaboration, which culminated in the haunting soundtrack for Jarmusch’s film 'Father Mother Sister Brother'.

Jim first invited Anika to record a cover of Jackson Browne’s 'These Days', inspired by Nico’s iconic version. This fully arranged track, prepared by Anika and featuring the Kaleidoskop string quartet, was recorded in Berlin and appears as a bonus track on the album as 'These Days (Berlin Version)'. Jim later mixed a more minimal version of the song, adding several electric guitar tracks. While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s 'Spooky'. Anika, who had performed a live version, suggested they cover it. The stripped-back version they created featuring just vocals, upright bass, finger snaps, and a distorted organ riff was chosen to open the film’s credits.

Beyond these covers, much of the film’s score was born out of improvisation. Jim and Anika spent hours improvising together, leading to a second round of recordings in Berlin, where Anika played Wurlitzer and electric guitar and Jim contributed affected electric guitars. Upon returning to New York, Jim shaped these recordings into the short, evocative instrumental pieces that became the film’s score. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.

The music for 'Father Mother Sister Brother' is an experimental, collaborative soundscape, not meant to center around or define a single character. Instead, it’s atmospheric, like the air invisibly surrounding the characters. 

TRACK LISTING

1. Spooky
2. Disorder
3. Skaters (Short Version)
4. The Lake 1
5. The Lake 2 
6. The World In Reverse
7. Afterwards
8. Order 
9. Twins 
10. Skaters 
11. Return
12. Emptiness 
13. These Days 
14. Jetlag 
15. Paris Bleu
16. These Days (Berlin Version)

After over a decade in the shadows, the mysterious and elusive Creative Use return to their secret headquarters for brand new manoeuvres.

Freshly kitted out with new prescience, flair, and a Maestro Echoplex EP-3, they deliver Creative Use 11 via newcomers, Powerhouse Jim & The Fitness Centre, direct from their dojo in the North of England.

The trio of delights offer something for all discerning DJs and collectors alike. This EP won’t be around for long, so we advise to buy or cry.

STAFF COMMENTS

Matt says: Not sure if we're allowed to reveal the identity of Powerhouse Jim yet, but a quick listen to these uplifting moments of contemporary house, disco and boogie might hint at our hard grafting, mega maned young buck. Defo one of the best to do it, from the new school of Manchester's underground.

TRACK LISTING

A1. That’ll Be Busy
B1. Imagine Being Us
B2. Silver Lining Syndrum

The Jimi Hendrix Bold As Love boxsets offer a premium collector experience in both a 5LP & Blu-ray or 4CD & Blu-ray package. Each set features 27 previously unreleased recordings from 1967, including demos and alternate takes, as well as television and radio performances. This deluxe edition includes the stereo and mono mixes for the Axis: Bold As Love album, all newly remastered by Bernie Grundman from the original flat master tapes. Both stereo and mono mixes are included in high-resolution 24bit/96kHz audio, as well as a newly created, immersive Dolby Atmos mix by Eddie Kramer and Chandler Harrod. A 36-page booklet rounds out the offering, filled with rare photos, detailed liner notes, and track-by-track insights. This release is ideal for Hendrix fans and vinyl enthusiasts looking for a definitive archival edition of one of Hendrix’s most iconic albums.

TRACK LISTING

LP Box Set Tracklist:

LP1 - Original Stereo Mix:
1. EXP
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain’t No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floatin’
9. Castles Made Of Sand
10. She’s So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love

LP2 - Original Mono Mix:
1. EXP
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain’t No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floatin’
9. Castles Made Of Sand
10. She’s So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love

LP3:
1. Mr. Bad Luck [Take 6]
2. She’s So Fine [Take 4]
3. Burning Of The Midnight Lamp [Take 30]
4 The Stars That Play With Laughing Sam’s Dice [Paramount Studios]
5. Burning Of The Midnight Lamp [Instrumental]
6. The Stars That Play With Laughing Sam’s Dice [Instrumental]
7. Stone Free/Up From The Skies [Demo]
8. Up From The Skies [Take 2]
9. Ain’t No Telling [Demo]
10. Ain’t No Telling [Take 12]
11. Little Miss Lover [Demo]
12. One Rainy Wish [Take 1]
13. You Got Me Floatin’ [Take 1]
14. Untitled Guitar Experiment
15. Castles Made Of Sand [Take 16]

LP4:
1. Bold As Love [Take 19]
2. Wait Until Tomorrow [Take 2]
3. Spanish Castle Magic [Take 2]
4. Little Wing [Take 2]
5. Untitled Instrumental #1 [Take 3]
6. Untitled Instrumental #2 [Take 1]
7. Little Miss Lover [Alternate Version]
8. Spanish Castle Magic [Take 4]
9. Wait Until Tomorrow [Take 14]
10. Castles Made Of Sand [Backwards Guitar]
11. One Rainy Wish [Alternate Version]
12. Burning Of The Midnight Lamp [Original Mono Mix]
13. The Stars That Play With Laughing Sam’s Dice [Original Mono Mix]

LP5:
1. Sgt. Pepper’s Lonely Hearts Club Band [Sweden 9/5/67]
2. Fire [Sweden 9/5/67]
3. The Wind Cries Mary [Sweden 9/5/67]
4. Foxey Lady [Sweden 9/5/67]
5. Hey Joe [Sweden 9/5/67]
6. I Don’t Live Today [Sweden 9/5/67]
7. Burning Of The Midnight Lamp [Sweden 9/5/67]
8. Purple Haze [Sweden 9/5/67]
9. Burning Of The Midnight Lamp [Dee Time]
10. Purple Haze [Hoepla]
11. Foxey Lady [Hoepla]
12. Burning Of The Midnight Lamp [Top Of The Pops] 

CD Tracklisting:

CD1 - Original Stereo Mix:
1. EXP
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain’t No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floatin’
9. Castles Made Of Sand
10. She’s So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love

CD2 - Original Mono Mix:
1. EXP
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain’t No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floatin’
9. Castles Made Of Sand
10. She’s So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love

CD3:
1. Mr. Bad Luck [Take 6]
2. She’s So Fine [Take 4]
3. Burning Of The Midnight Lamp [Take 30]
4. The Stars That Play With Laughing Sam’s Dice [Paramount Studios]
5. Burning Of The Midnight Lamp [Instrumental]
6. The Stars That Play With Laughing Sam’s Dice [Instrumental]
7. Stone Free/Up From The Skies [Demo]
8. Up From The Skies [Take 2]
9. Ain’t No Telling [Demo]
10. Ain’t No Telling [Take 12]
11. Little Miss Lover [Demo]
12. One Rainy Wish [Take 1]
13. You Got Me Floatin’ [Take 1]
14. Untitled Guitar Experiment
15. Bold As Love [Take 19]
16. Castles Made Of Sand [Take 16]
17. Wait Until Tomorrow [Take 2]
18. Spanish Castle Magic [Take 2]
19. Little Wing [Take 2]
20. Untitled Instrumental #1 [Take 3]
21. Burning Of The Midnight Lamp [Original Mono Mix]
22. The Stars That Play With Laughing Sam’s Dice [Original Mono Mix]

CD4:
1. Little Miss Lover [Alternate Version]
2. Spanish Castle Magic [Take 4]
3. Wait Until Tomorrow [Take 14]
4. Castles Made Of Sand [Backwards Guitar]
5. One Rainy Wish [Alternate Version]
6. Untitled Instrumental #2 [Take 1]
7. Burning Of The Midnight Lamp [Dee Time]
8. Sgt. Pepper’s Lonely Hearts Club Band [Sweden 9/5/67]
9. Fire [Sweden 9/5/67]
10. The Wind Cries Mary [Sweden 9/5/67]
11. Foxey Lady [Sweden 9/5/67]
12. Hey Joe [Sweden 9/5/67]
13. I Don’t Live Today [Sweden 9/5/67]
14. Burning Of The Midnight Lamp [Sweden 9/5/67]
15. Purple Haze [Sweden 9/5/67]
16. Burning Of The Midnight Lamp [Top Of The Pops]
17. Purple Haze [Hoepla]
18. Foxey Lady [Hoepla] 

For his second solo album, master drummer Jim White travels further into expressionist landscapes of private meditation; his vehicle, an evocative duet of keyboards and drums alongside his debut as a vocalist. Translating his formidable percussive intuitions through this dialogue has given Jim a fresh compositional voice. Inner Day is like a state of nature, evoking peace and tension, rest and disquiet, all aloft on the wind of new discovery.

TRACK LISTING

SIDE A
Deathday
What's Really Happening
The Titles
Longwood
Cloudy
Stepping
Two Ruffys
Inner Day

SIDE B
The Blinded Bird
I Don't Do / Grand Central
Thanksgiving (Three Dead Walls)
11.12.24
Anniversary

Axis: Bold As Love, the second album from The Jimi Hendrix Experience was the follow up to the hugely successful Are You Experienced. This masterpiece is home to the classics Little Wing, Castles Made Of Sand and Bold As Love. This edition of the album will be pressed on Electric Orange colour vinyl.

The long-awaited memoir from Simple Minds' founder members and lifelong collaborators, Jim Kerr and Charlie Burchill. A candid, moving and kinetic story of self-realisation through the power of music, Our Secrets Are The Same is the remarkable joint memoir by Simple Minds' founder members, Jim Kerr and Charlie Burchill. It not only reveals the inner workings of one of the most innovative and successful British bands of the past half-century, but the deeply personal tale of an extraordinary friendship which powered teenage dreams into visionary action. Exploring key songs, places, years and events in the Simple Minds story, and told in the distinct voices of both men, Our Secrets Are The Same explores a bond which has encompassed stratospheric highs and humbling lows, marriages and divorces, fatherhood, fickle fame, tricky inter-band dynamics, the occasional explosive bust up, and a ruthless streak to rival the Sicilian Mafia.

Their connection is grounded in shared experiences and a set of values and codes so deeply ingrained they don't need to be spoken. For Our Secrets Are The Same is not just the story of two rock stars, but of two sons, brothers, partners and parents who have never forgotten where they come from. Two men who have remained deeply bonded to their roots and each other, while fulfilling a teenage dream to form a world-class live band and take their music around the globe.

Fascinating and funny, evocative and inspiring, this unforgettable memoir captures a unique journey through life and music, and a friendship like no other.

One Oh Eight returns with that Lowslung goodness just in time for summer. The A side features 45 stalwart Jim Sharp with a Pittsburgh themed lowslung affair. Combining old school and new school R&B flavours, Jim takes it back in the day with Neo Soul vocals. The AA side aptly features Canadian party rocker DJ Double A - who takes a 90s R&B classic, notches up the BPMs and turns it into a future boogie killer. Both sides will be delivering donuts to the countless Shazam attempts that will take place on the dancefloor.

TRACK LISTING

A1. Jim Sharp - Back In The Dang
B1. Double A - Wanna Be Down

Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer!

One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’.

You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-to- ceiling bangers - 22 of them – 11 songs on each excellent record.

‘Automatic’ features the full band from the last three Jim Bob albums (‘Pop Up Jim Bob’, ‘Who Do We Hate Today’ and ‘Thanks For Reaching Out’ - also available on Cherry Red Records) and includes the opening sing-a-long ‘Victoria Knits The Wars’ which features on the first 7” single.

Cherry Red Records is double delighted to present not one, but TWO brilliant brand-new albums from Jim Bob this summer!

One album is ‘AUTOMATIC’ and one album is ‘STICK’. This is NOT a double album, double albums allow filler in and there is NO filler on ‘Automatic’ or ‘Stick’.

You won’t find any skippable Instrumentals or reprised versions on these beauties, just wall-to-wall, floor-to- ceiling bangers - 22 of them – 11 songs on each excellent record.

‘Stick’ is a punkier, dirty power-trio, guitar record and features the poppin’ punky ‘S’ side of the 7” ‘Every Day’s a Discotheque’.

TRACK LISTING

SIDE 1
1. A Song By Me (2:39)
2. Swordfight Outside McDonalds (3:30)
3. Art (2:58)
4. I Will Still Be Here (3:01)
5. I Go To The Park (4:07)
SIDE 2
6. Every Day’s A Discotheque (2:52)
7. (Oh What A) Shitshow (2:26)
8. Lovers Rock (4:12)
9. Walk The Dog Start A War (1:56)
10. The Last Night Of The Tour (3:25)
11. There’s Not Enough Space In The Hall (2:10)

“the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern; to see shapes or make pictures out of randomness.”

Eiko Ishibashi and Jim O’Rourke toured Europe for two weeks in 2023, a wonderful passage through France, Switzerland, Italy and Ireland; Pareidolia, the duo's fifth collaborative release, is a remix made up of resonances from those shows. The movement of sound in each performance and the relationships of sound between them; a dynamic medley of colour and shape to pulse through earbuds, speaker cones and the air immediately surrounding you.

Improvisation is the preferred collaborative mode for Eiko and Jim. They both prepare separately, without discussing anything beforehand. The dialogue in the moment determines the performance; anything that takes place is a possible point of departure, allowing for a unique experience each time they play.

These 2023 shows marked the first time Jim and Eiko had played together outside Japan. Perhaps the flow of parts unpacked from their respective computers was inspired by the experiences of the tour: the nature of the assembled audience, the quality of the meal on the day at hand. Additionally, Eiko played flute and they both played a bit of harmonica intermittently throughout the performances. These live acoustic signals were routed back to the hard drives, to provide further material to play with — and as they travelled, recordings of the previous nights’ shows were among the materials for the next performance. With all this to play with, there was much fun to be had every night. Pareidolia’s final mix is one further rearrangement of the elements — comping — say, a bit of Jim from Paris against Eiko in Dublin for a minute, before bringing them both back into the same room for a spell before another set of interactions comes into play. The choices and edits represented here make yet another unique dialogue, as well as a kind of 'best' version of what they were doing on the tour.

For us at home, the sense of inevitability in the parts as they flow together might suggest structure; happily, this occurs without Eiko and Jim really committing to anything of the sort. Their available sound sources could present as a hot-wired noise onslaught, with all faders up full. Endless possible interpretations to be had on either side of the experience! This is one of several ways that the LP title and sequence of song titles come into play. Listeners hearing something more should have a good look in the mirror and perhaps consider the old saying: “Just because you're paranoid doesn't mean they aren't out to get you.”

It could only help!

TRACK LISTING

SIDE A
Par
Ei

SIDE B
Do
Lia

For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together.

The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well.

Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes.

TRACK LISTING

1. CONCERNING CELESTIAL HIERARCHY. 3:50
2. THE DAY THE ANGELS CRIED 4:22
3. THE FIRST LANGUAGE 4:22
4. SHE BURNS IN DEVOTION, HER VIRTUE SWEET LIKE HONEY
5. THERE IS NO ANSWER
6. TO THOSE WHO MOURN
7. CONCERNING THE LAW OF ANGELS 4.19

'Shutting Down Here' is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O’Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O’Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O’Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

TRACK LISTING

1. Shutting Down Here

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records’ soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows’ recent effort 'Is There Love In Outer Space?', 'July Blue Skies' glides on a slightly more raw and mystical plane.

Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album’s opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs 'Sky Train Baby' propels the listener on a locomotive ride through the star systems while 'Venus of Barsoon' with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory.

The album’s B-side opens with 'Ikuchi', where Tenor’s always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime 'Summer Of Synesthesia' and the demonic 'Tsicroxe' both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

TRACK LISTING

1. July Blue Skies
2. Sky Train Baby
3. Venus Of Barsoon
4. Ikuchi
5. Summer Of Synesthesia
6. Tsicroxe

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

On his new album Wasteland, Jim Ghedi has created something huge. Intense, brooding, bold, at times apocalyptic, and remarkably vast. A profoundly bold sonic statement that is some of the most rich, far-reaching and ambitious work that Ghedi has created to date - pushing the boundaries of what folk music can be in 2025.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”

Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”
Recorded over 2 years at Tesla Studios in Sheffield, with David Glover engineering and producing, it also features a wide cast of musicians such as David Grubb (fiddle), Daniel Bridgwood-Hill (fiddle), Neal Heppleston (bass), Joe Danks (drums), Dean Honer from I Monster (synths), Cormac MacDiarmada from Lankum (vocals), Ruth Clinton from Landless (vocals) and Amelia Baker from Cinder Well (vocals).

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

STAFF COMMENTS

Barry says: A beautifully evocative, bucolic album that's as grand as it is intricate. Wisps of melody and slow building crescendos break into barely audible water droplets or a toppling, powerful waterfall. Constantly surprising, endlessly enthralling and unsurprisingly beautiful.

TRACK LISTING

Side A
1. Old Stones
2. What Will Become Of England
3. Newtondale / Blue John
4. Wasteland
5. Just A Note

Side B
1. Sheaf & Feld
2. Hester
3. The Seasons
4. Wishing Tree
5. Trafford Road Ballad

Raised in Canada but these days residing in the UK, Jim Sharp has that magic touch when it comes to reworking soul, funk and hip-hop to another level.

On his GAMM debut Jim starts up by giving Anthony Hamilton a super soulful twist that is as funky as it gets.On the B-side we get seriously deep with a killer refix blending together Donny Hathaway and Common into a stellar hip-hop / soul jam.

STAFF COMMENTS

Matt says: Jim Sharp hits the GAMM remit in style, with two carefully constructed soul mash-ups possessing 'nuff bump and grind.

TRACK LISTING

A. Cornbread
B. 2000Twentyfoe

What do we have here? Something that'll make the legion of J Dilla fans dizzy with excitement that's what! For the first time in ages, the original "Charlie's Theme" by The Jimi Entley Sound b/w "Geek Down" - the track Dilla created from "Charlie's Theme".

Included on the legendary "Donuts" LP, "Geek Down" is a tense and rambunctous ride into the breakbeat of "Charlie's Theme"; drawing out that eerie string motif and adding flanged stabs of wah-wah'd organ, guitar and brass. 

"Charlie's Theme" was released in 2002 and produced by Portishead's Geoff Barrow and Adrian Utley. The only single they did, its post-millennium release date hides its timeless library breaks / hard funk credentials - and is surely one of the most modern samples used by Dilla for his genre-defining LP. 

Artwork by Pete Fowler. Proceeds to the War Child charity. Limited copies. 

TRACK LISTING

J Dilla - Geek Down
The Jimi Entley Sound - Charlie's Theme

The single release from Jimi Tenor's second thematic album on Timmion Records offers two very different moods. "Summer of Synesthesia" takes us back to those dreamy summer days, a natural overpour of sensations mixing together, sounds becoming colors before turning into flavors. Synthesizers grow into delicate layers over Cold Diamond & Mink's rhythm, and when your heart can hardly bear the beauty of it all, Tenor's soft lyric places the cherry on top. "Tsicroxe" on the flipside couldn't be more different, kicking into gear with a demonic organ arpeggio that sounds like you've just been dropped into a Dario Argento scene. Even though the familiar funk from Cold Diamond & Mink eases the dread a bit, when Tenor busts in with the eerie flute solo, the ritual closes in on its conclusion. The contents of the backwards vocal bits at the end shall be saved for your turntable so make sure to rewind that track, selector! Also Available From Jimi Tenor & Cold Diamond & Mink: Is There Love In Outer Space? 7", Gaia Sunset 7", Is There Love In Outer Space? LP / CD. The single takes listeners on a sonic journey: “Summer of Synesthesia” flows with warm, dreamlike beauty, while “Tsicroxe” dives into intense, mysterious depths, showcasing Tenor’s dynamic range. Blending synth layers with Cold Diamond & Mink’s classic funk rhythms, both tracks bring elements of 70s soundtrack-style tension and ethereal soul, appealing to fans of both cosmic grooves and suspenseful soundscapes. Tenor’s layered synthesizers, haunting flute, and even backward vocal elements add a captivating texture, making “Summer of Synesthesia” b/w “Tsicroxe” a must-have for fans of genre-blending, atmospheric music.

TRACK LISTING

Side A: 1. Summer Of Synesthesia
Side B: 2. Tsicroxe

THIS IS A BLACK FRIDAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 29TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 30TH).

This is a x1 LP Vinyl highlights from the box that documented The Band Of Gypsys stand at the Fillmore East on New Years Eve & Day 1969/1970. Pressed on very limited Blue & Violet LP Vinyl.

Newly revised and updated with cooperation and insight from Brian May and Roger Taylor – and drawing on exclusive interviews with the bandmembers – this book completes the story of the Mercury era and the immediate years after his death.

With numerous extra photographs and a new Foreword from Brian May, Queen – As It Began: Revised and Authorised is an informative and authoritative portrait of Queen’s most fundamental period.

On September 13, Experience Hendrix L.L.C., in partnership with Legacy Recordings, the catalog division of Sony Music Entertainment, is releasing Electric Lady Studios: A Jimi Hendrix Vision, a deluxe box set offering 39 tracks (38 previously unreleased) that were recorded by the new-look Jimi Hendrix Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

In celebration of the forthcoming release, on August 8, the City of New York will be temporarily renaming the portion of West 8th Street between 6th Street and MacDougal Street JIMI HENDRIX WAY. This is the block on which Electric Lady Studios was built and still stands. There will also be a media screening event inside the studio that night.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks [“Valleys Of Neptune,” “Pali Gap,” and “Lover Man”]. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to becoming a state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood (who joined Hendrix on the first night of recording at the new studio), Experience bassist Billy Cox and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The package includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes. The new release comes on the heels of another feature-length documentary that was created by the same team; Music, Money, Madness… Jimi Hendrix Live In Maui, which was nominated for a GRAMMY in the Best Music Film category in 2022.

Leading the project is a previously unreleased version of “Angel [Take 7].” This newly mixed, stripped down version includes the original performances recorded by Hendrix, Mitchell and Cox on July 23, 1970. It does not include any of the drums and additional percussion elements Mitchell opted to add to this master take after Jimi had died. 

Contained on the five vinyl LPs or three CDs in the Electric Lady Studios: A Jimi Hendrix Vision box set are 39 tracks recorded by Jimi and his band—consisting of bassist Billy Cox and drummer Mitch Mitchell—at the studio within the last four months of the guitarist’s life. Hendrix was hard at work creating First Rays Of The New Rising Sun, the ambitious double album that would follow his 1968 masterwork Electric Ladyland. Inspired by the possibilities of the new studio, the Experience built classic fare such as “Night Bird Flying,” “Freedom,” and “Dolly Dagger” from the ground up. The set offers a comprehensive look at the work Hendrix undertook during that fruitful summer of 1970. The music ranges from four-track demo recordings of “Valleys Of Neptune” and “Heaven Has No Sorrow,” alternate arrangements of promising new songs such as “Come Down Hard On Me” and “Belly Button Window,” extraordinary, live in the studio takes of “Tune X/In From The Storm,” “Astro Man” and “The Long Medley,” a stirring, 26 minute spontaneous exploration of “Beginnings,” “Hey Baby (New Rising Sun),” “Keep On Groovin’” and “Freedom.” Additionally, the box set present many of the mixes the guitarist completed with engineer Eddie Kramer before leaving to begin a European tour on August 30 at the Isle Of Wight festival in England. Hendrix would never again return to Electric Lady Studios.

The newly mixed 5.1 audio tracks contained on the Blu-ray of Electric Lady Studios: A Jimi Hendrix Vision include all 17 tracks from the posthumously released First Rays of the New Rising Sun (1997, recorded 1968-70), as well as “Pali Gap” from Rainbow Bridge (1971, recorded 1970), “Lover Man” from The Jimi Hendrix Experience box set, (2000, recorded 1970) and “Valleys of Neptune” from Valleys of Neptune (2010, recorded 1969-70).
The documentary explains in depth that while Jimi Hendrix’s death robbed the public of so much potential music, the continued success of his recording studio provides a lasting legacy beyond his own music. John Lennon, The Clash, AC/DC, Chic, David Bowie, Stevie Wonder and hundreds more made records at Electric Lady Studios, which speaks to one of Jimi’s lasting achievements in an industry that has radically changed over the course of the last half century.

“My brother had a musical vision,” Janie Hendrix reflects. “With this project, it felt appropriate to shed light not only on his own music, but also on his lasting contribution of Electric Lady Studios. He was driven internally to build a home base where he could record everything he felt. While his life was cut short, so many other talented artists continue to express themselves within those magical walls on 52 West 8th Street.”

TRACK LISTING

Vinyl:
DISC ONE
SIDE ONE
1) Ezy Ryder [Alternate Mix]* 6/18/70
2) Valleys Of Neptune [Alternate Version]* 6/15/70
3) Straight Ahead [Takes 1 & 2]* 6/17/70
4) Astro Man [Takes 9 & 10]* 6/24/70
5) Drifting [Takes 1 & 2]* 6/25/70
6) Night Bird Flying [Take 25]* 6/16/70

SIDE TWO
1) Earth Blues [Alternate Mix]* 6/26/70
2) Drifter’s Escape [Takes 1 & 2]* 6/17/70
3) Astro Man [Take 14]* 6/24/70
4) Further Up The Road* 6/24/70

DISC TWO
SIDE ONE
1) Dolly Dagger [Takes 17 & 18]* 7/1/70
2) Lover Man 7/20/70
3) Freedom [Take 4]* 6/25/70
4) Angel [Take 7]* 7/23/70
5) Beginnings [Take 5]*

SIDE TWO
1) The Long Medley [Astro Man / Beginnings / Hey Baby (New Rising Sun) / Midnight Lightning (Keep On Groovin’) / Freedom]* 6/24/70

DISC THREE
SIDE ONE
1) Freedom [Alternate Version]* 7/19/70
2) Valleys Of Neptune [Demo]* 6/70
3) Tune X*/Just Came In [Take 6]* 7/22/70
4) Drifting [Alternate Version]* 8/20/70
5) Messing Around [Take 17]* 6/16/70

SIDE TWO
1) Tune X* / Just Came In (Take 8)* 7/22/70
2) Dolly Dagger [Alternate Version]* 7/19/70
3) Come Down Hard On Me [take 15]* 7/15/70
4) Heaven Has No Sorrow [Demo]* 6/70

DISC FOUR
SIDE ONE
1) Midnight Lightning* / Beginnings* 7/1/70
2) Dolly Dagger [Mix 2]* 8/20/70
3) Belly Button Window [Take 1]* 7/23/70

SIDE TWO
1) Night Bird Flying [Alternate Version]* 8/20/70
2) Freedom [Alternate Version]* 8/20/70
3) Straight Ahead [Alternate Mix]* 8/20/70
4) In From The Storm [Alternate Mix]* 8/24/70

DISC FIVE
SIDE ONE
1) Bolero* / Hey Baby (New Rising Sun) [Alternate Mix]* 8/22/70
2) Drifter’s Escape [Alternate Mix]* 8/22/70

SIDE TWO
1) Bleeding Heart [Alternate Mix]* 8/22/70
2) Drifting [Alternate Version]* 11/20/70
3) Astro Man [Alternate Version]* 8/22/70
4) Room Full Of Mirrors [Alternate Version]* 10/20/70
5) Angel [Alternate Version]* 10/19/70
*Previously Unreleased

3CD Tracklist:
DISC ONE
1) Ezy Ryder [Alternate Mix]* 6/18/70
2) Valleys Of Neptune [Alternate Version]* 6/15/70
3) Straight Ahead [Takes 1 & 2]* 6/17/70
4) Drifter’s Escape [Takes 1 & 2]* 6/17/70
5) Astro Man [Takes 9 & 10]* 6/24/70
6) Astro Man [Take 14]* 6/24/70
7) Drifting [Takes 1 & 2]* 6/25/70
8) Night Bird Flying [Take 25]* 6/16/70
9) Farther Up The Road* 6/24/70
10) The Long Medley [Astro Man / Beginnings / Hey Baby (New Rising Sun) / Midnight Lightning (Keep On Groovin’) / Freedom]* 6/24/70

DISC TWO
1) Earth Blues [Alternate Mix]* 6/26/70
2) Dolly Dagger [Takes 17 & 18]* 7/1/70
3) Angel [Take 7]* 7/23/70
4) Beginnings [Take 5]* 7/1/70
5) Lover Man 7/20/70
6) Tune X* / Just Came In [Take 6]* 7/22/70
7) Heaven Has No Sorry [Demo]* 6/26/70
8) Freedom [Take 4]* 6/25/70
9) Valleys Of Neptune [Demo]* 6/26/70
10) Come Down Hard On Me [Take 15]* 7/15/70
11) Dolly Dagger [Alternate Version]* 7/19/70
12) Messing Around [Take 17]* 6/16/70
13) Tune X* / Just Came In [Take 8]* 7/22/70
14) Drifting [Alternate Version]* 8/20/70
15) Freedom [Alternate Version]* 7/19/70
16) Belly Button Window [Take 1]* 7/23/70

DISC THREE
1) Dolly Dagger [Mix 2]* 8/20/70
2) Night Bird Flying [Alternate Version]* 8/20/70
3) Freedom [Alternate Version]* 8/20/70
4) Midnight Lightning* / Beginnings* 7/1/70
5) Straight Ahead [Alternate Mix]* 8/20/70
6) In From The Storm [Alternate Mix]* 8/24/70
7) Bolero* / Hey Baby (New Rising Sun) [Alternate Mix]* 8/22/70
8) Drifter’s Escape [Alternate Mix]* 8/22/70
9) Astro Man [Alternate Version]* 8/22/70
10) Bleeding Heart [Alternate Mix]* 8/22/70
11) Drifting [Alternate Version]* 11/20/70
12) Room Full Of Mirrors [Alternate Version]* 10/19/70
13) Angel [Alternate Version]* 10/19/70

*Previously Unreleased


First Rays Of The New Rising Sun + Bonus Tracks 5.1 Mixes (contained On Blu-ray With Both Vinyl And CD Versions Of Package)
1) Freedom
2) Izabella
3) Night Bird Flying
4) Angel
5) Room Full Of Mirrors
6) Dolly Dagger
7) Ezy Ryder
8) Drifting
9) Beginnings
10) Stepping Stone
11) My Friend
12) Straight Ahead
13) Hey Baby (New Rising Sun)
14) Earth Blues
15) Astro Man
16) In From The Storm
17) Belly Button Window
18) Pali Gap (from Rainbow Bridge Album)
19) Lover Man (from Jimi Hendrix Experience Box Set)
20) Valleys Of Neptune (from Valleys Of Neptune Album)

All 20 Tracks Available In 5.1 Surround Sound Audio For First Time Ever

"A positive sonic chocolate box".
With Sähkömies, Jimi Tenor released his legendary solo debut in 1994 on Puu, a spin-off of the Finnish label Sähkö Recordings founded by Tommi Grönlund and Mika Vainio in 1993. Recorded in Tenor's former home in New York, the album offers a previously unheard mixture of drum machine driven, electronic sounds and Sun Ra-inspired jazz. Written, recorded and produced entirely by Tenor in his apartment, the pieces have lost none of their spontaneous, roughcast charm to this day.

TRACK LISTING

Theme Sax
Crazy Hammond
Union Ave
Take Me Baby
Matti B
Teräsmies
Voimamies
Travelin Dem Spaceways

Blessing/curse. Division/unity. Love/hate. It’s in the context of a polarising 24-hour, digitised, globally connected world that NightjaR finds its wings. NightjaR being the nom-de-plume and smudged rainbow constellation of collaborative copy-and-paste sound-wrangling and hip-hop from Jimi Goodwin. But it’s here and it’s Mala Leche.

Mala Leche (Spanish: Bad Milk) is 16 tracks of beats and bars, vocals provided by some of the hip-hop artists at the very top of his own, personal home listening lists and interludes that throw back and forth through eras and genres in sometimes playful, occasionally awakeningly abrasive styles. How did it all come together?

“The good thing about social media is that it makes everyone available. Everyone has their contact details or their management’s contact details on their profiles. I could literally just email or DM someone.”

Goodwin has form in this, his chosen arena. Anyone paying attention to his extra-curricular activities at the same time his ‘day job’ in the still-active Doves presented him a third UK No.1 album in 2020 will have noted his production, as Coup Diablo (“Bollocks, that name! I don’t know what I was thinking!”) on Pan Amsterdam’s Ha Chu album in the same year. Improbably connecting the nocturnal, lamp-lit laboratory vibe of a home studio at the foot of England’s Peak District with Miami, Florida, Goodwin and Pan Amsterdam linked up once again this time around, with the one-time jazz musician-turned rapper’s authoritative prose and trumpet gracing first single, Space Bar and album closer, Glove Department.

Much like the basis for many of Mala Leche’s new-era collaborations, the two have never met in person, yet the creativity flowed easily through fibre optics and across time zones.

“I like clever wordsmiths,” says Goodwin, “not just cusses and Pan is exactly that kind of artist. He’s The Don. Full respect to him, he got fed up with the jazz scene he was part of, frustrated by the bullshit. He’s gone and called it out and done his own thing. You’ve got to admire that.”

Kindred spirits. NightjaR finds Goodwin, whilst not breaking ranks as a member of Doves (“They are my peers, man!”) in the same way as Pan rejected the accepted notions of local jazz circuit, it’s something that visibly lights new creative fires in him. “I make a beat every other day. There’s no agenda, nothing obscure or clever, it’s just instinctive. There came a point when I considered getting these rappers involved… to bring it out of it just being me on my own… YOU CAN’T DO THAT JIMI! Turns out that I could!”

First fruits borne of the collaborative seeds sown on Mala Leche are heard on the album’s second track, Baby Don’t, where both Birmingham, UK-based rapper SonnyJim and Detroit’s Quelle Chris commit their voices to a tantalisingly brief (only 2m 14s) NightjaR beat laced with chiming, crystalline melodic motifs. The two rappers had already put out music in combination, drawing Goodwin’s ear with the SonnyJim’s 2016 release, Mud In My Malbec, featuring Quelle Chris on the track, Dorchester. Bandcamp has proved revelatory while constructing the new NightjaR world, with these discoveries, Pan Amsterdam and others coming directly through that platform.

Not all commitments have come without the warmth of personal encounter, however. New York’s Homeboy Sandman, skimming studied street verse over the stand-up bass-driven track, Pirates, appears on the album following a personal, if chance encounter. As Goodwin recounts, “I was in New York in 2017, just exploring the city on my own. One day I’d been in touch with Homeboy Sandman, just exchanging messages, just asking if I could send him my beats. Same day, totally by chance, I come out of the subway and bump right into him! Whatever the ways of contacting these rappers I’ve been able to put together my dream team.”

Closer to home, the unmistakable voice, meter and lyrical proclivities of Sleaford Mods’ Jason Williamson land, without ambiguity, on Blood Red Dead. With the peal of a repeating, distorted guitar lick and a single, grounding organ note, Williamson’s Nottinghamshire brogue is welcomed through a longstanding sense of mutual interest and respect. Of the same generation, compatible politics and frequently lost in a world of instant, all-too-public messaging, the pair are long-time acquaintances.

“We’ve never met in person,” admits Goodwin, “but we’re on the phone to each other all the time. I was blown away by what he’s done on ‘Blood Red Dead’. It’s totally ‘him’. I admire people who are just like ‘fuck you!’ and working and living with that sense of conviction. Just people who can completely be themselves.”

Much like Sleaford Mods, Doves or any band name, NightjaR is a useful alias in the process of Goodwin becoming, like Williamson, completely himself. After percolating over seven years and finally facing the prospect of going public, the name crept from corners of inspiration linked to both voodoo doctor Dr John’s unsettling, 1968 debut album, GRIS-grisand the bird of the same name. Nocturnal creatures camouflaged from discovery while roosting in the daytime, and ascending to mythical status for an ages-old reported ability to steal milk from goats, the enigmatic bird is a well-chosen totem to Mala Leche’s similar sense of post-dusk mystery.

TRACK LISTING

Side A:
1. Broken Saturday Night
2. Baby Don’t Feat Sonny Jim & Quelle Chris
3. Burnt Up Nights
4. Piano Heights Feat Pruven, Vast Aire & Burgundy Blood
5. Smashing Little Boat
6. Pirates Feat Homeboy Sandman
7. Harlem Dream
8. Blood Red Dead Feat Jason Willamson
9. Sylvester
Side B:
1. Space-Bar Feat Pan Amsterdam
2. The Fuck It Boogaloo
3. Anything Something
4. Thee Omen Feat Homeboy Sandman
5. Mala Leche Feat Guilty Simpson
6. YOU BASTARD
7. Glove Department Feat Pan Amsterdam

Multi-genre album with crossover potential, blending jazz, soul, funk, and electronics. Cult artist active since the early 1990s who has released records on labels like Warp and Kindred Spirits. Fresh collaboration between singular vocalist/musician and the Cold Diamond & Mink band. LP Housed in vintage style Tip-On Sleeve. There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label’s artists with his flute and reeds artistry. The first album out is titled “Is There Love In Outer Space?”, which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer ‘What Are You Doing?’ sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this. 

TRACK LISTING

Side A:
1. Is There Love In Outer Space?
2. Gaia Sunset Pt.1
3. Gaia Sunset Pt.2
Side B:
1. Orbiting Telesto
2. Laputa
3. What Are You Doing?

A bubbling swamp curse of unholy rhythm, Jim Jones All Stars is the latest project from garage‬ godfather Jim Jones (Thee Hypnotics, The Jim Jones Revue). It features The Jim Jones Revue‬ members Gavin Jay and Elliot Mortimer, drummer Chris Ellul from (The Heavy), veteran punk‬ blues guitarist Carlton Mounsher (The Swamps), and a full horn section (Tenor Saxophonist‬ Stuart Dace and Baritone Saxophonists Tom Hodges and Chuchi Malapersona).‬

After a midnight offering at the real crossroads in Clarksdale, Mississippi, the band made the‬ pilgrimage to Memphis, Tennessee to record with Memphis Magnetic founder Scott McEwen‬ (JD McPherson, Nick Waterhouse) in May of 2022.‬‬

Produced by John Getze and mastered by Grammy Award winner Randy Merrill, the resulting‬‭ LP 'Ain’ No Peril' is a thick, greasy slab of Rama lama rhythm and blues that highlights some of‬ Jones's most inspired songwriting ever and features guest appearances from vocal powerhouse‬ Nikki Hill and Oxbow’s Eugene S. Robinson.

“When you’re recording within spitting distance of the Mississippi River, there’s something about‬ that heavy Memphisair that changes the way that you hear the groove and grind,” says Jim‬ Jones. ‘Ain’t No Peril’ captures that feeling and bathes in that magic.”

TRACK LISTING

1. Devil's Kiss
2. Gimme The Grease
3. It's Your Voodoo Working
4. Your Arms Will Be The Heavens
5. I Want You (Any Way I Can)
6. Hot Sauce
7. Troglodyte
8. Chingón
9. You Got The Best Stink (I Ever Stunk)
10. Ain't No Peril
11. Drink Me
12. Evil Eye

Should the name Jim Rafferty sound a tad familiar, he is in fact the older brother of Gerry Rafferty, of ‘Baker Street’ and ‘Stuck In The Middle with You’ fame. As a songwriter, Jim had signed a solo deal with Decca in the late 1970s. With Gerry in the producer’s chair, and a crack team of the several of the same musicians whom Gerry later recruited for his hit album, ‘City To City’, Jim produced the album ‘Don’t Talk Back’, comprising the kind of sophisticated, melodic material typified, like his brother’s work, by strong emphasis on vocal harmonies - the popular style at end of the 1970s.

Decca went out of business concurrent with their release of Jim’s arguably superior second album, ‘Solid Logic’, produced by Martin Levan. Times were changing across the music business, and Jim, always seeking new challenges, continued to write interesting, idiosyncratic material. He signed a self-penned, nervy and minimalist new work ‘I See Red’, to Hit & Run publishing, which was picked up by Phil Collins for Abba star Frida’s solo album. The song’s outsider narrative and implied reggae rhythm, made somewhat cartoonishly explicit in Frida’s version, also found favour with a number of other artists, notably Clannad, whose album ‘Magical Ring’ included their near identical version of ‘I See Red’, and gained chart placing in the UK. The same song was subsequently covered by brother Gerry on his ‘Wing and A Prayer’ album.

The flipside of Jim’s ‘I See Red’ has its own cover history - ‘Fear Strikes Out’ first appeared on Ian Matthews’ 1984 LP, ‘Shook’. Matthews, a journeyman who’d once sung in Fairport Convention alongside Judy Dyble and Sandy Denny and later hit the charts several times as a solo act, roots his version firmly in Jim’s ineffable arrangement, which makes sense - but Jim’s version notches up the excitement brightly, showcasing sharp guitar and keyboard textures in the mix. And sounding more like a hit.

TRACK LISTING

1. I See Red
2. Fear Strikes Out

Originally released in April 1997, First Rays Of The New Rising Sun, was the first album prepared under the direct supervision of the Hendrix Family. Drawing together seventeen songs whose creation spans from March 1968 through to Jimi’s final sessions at Electric Lady Studios in August 1970, the album marked the last graceful gesture by the innovative artist Jimi Hendrix. Features “Dolly Dagger,” “Angel,” “Ezy Rider” and “Freedom.” This release is a new, all analog edition mastered from the original 1/4" mixes by Bernie Grundman and pressed on 140-gram black vinyl.

TRACK LISTING

Side A
1. Freedom
2. Izabella
3. Night Bird Flying
4. Angel
5. Room Full Of Mirrors

Side B
1. Dolly Dagger
2. Ezy Ryder
3. Drifting
4. Beginnings

Side C
1. Stepping Stone
2. My Friend
3. Straight Ahead
4. Hey Baby (New Rising Sun)

Side D
1. Earth Blues
2. Astro Man
3. In From The Storm
4. Belly Button Window

Experience the rebirth Of Jim Spencer’s musical vision through Piya Malik’s captivating rendition in say she she’s limited 45 rpm edition of ‘Wrap Myself Up’. Malik’s artistry infuses fierce elegance into the original tune, honoring spencer’s legacy, with spencer himself featured on the B-side.

TRACK LISTING

1. Say She She - Wrap Myself Up In Your Love
2. Jim Spencer - Wrap Myself Up In Your Love

This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim.

The trap kit - so straightforward, so mysterious. What’s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn’s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP.

Jim oversees it all, surveys from the lost place we’re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you’re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album.

Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it’s happening but you’re back on your feet when it’s over. Memories refreshed. Did you really even listen to it? Bill Callahan, November 2023

TRACK LISTING

1. Curtains
2. Percussion Build
3. Marketplace
4. Soft Material
5. St. Francis Place Set Up
6. Uncoverup
7. Walking The Block
8. Jully
9. Long Assemblage
10. Names Make The Name
11. No/Know Now
12. Stationary Figure
13. Here Comes

Love Makes Magic, the debut LP by JIM - aka Jim Baron of Crazy P & Ron Basejam notoriety - was released in June 2023 and the album has connected with an ever growing number of fans; lured in by great songs, Laurel Canyon singer-songwriter acoustics, 60’s psychedelic folk-rock, a dash of Balearic, discoid funk and a healthy dose of yacht-rock. The album was voted Album of the Year in the Bill Brewster Furtive 50 chart for 2023 - like a Balearic BAFTAs - and Still River Flow (Generalisation Dub) came 2nd in the tracks of the year... which was nice.

Disco Pogo, Piccadilly Records and Mr Bongo all gave the LP honourable mention in their end of year charts too. As you’d expect with an artist who has 25 years of dance music connections the accompanying remixes weren’t bad either... Crooked Man, Ruf Dug, Flying Mojito Brothers and Generalisation all came up with fine reinterpretations. Luke Unabomber hailed The Crooked Goth version of Phoenix as his track of the year. The vinyl run of the Crooked Mixes sold out in record time.

As the remixes racked up we considered collecting them together for a remix LP. And so here we are... presenting Love Makes Magic - The Remixes.

The five aforementioned mixes will be joined by five brand new ones from X-Press 2, Mang Dynasty, Chris Coco, Begin ( James Holroyd) and Brown Fang. Spanning pumping club bangers, perfect sunsets soundtracks and left-field electronica.

We love them.
We hope you do too..

STAFF COMMENTS

Barry says: A stunning set of remixes from some of the hottest names in the electronic music world, for Jim's brilliant 'Love Makes Magic' LP, one of our collective favourites of 2023. Basking in the relaxed, Balearic waters of the original but twisted and coaxed around a variety of grooves, these pieces shine in a whole new light when viewed through a different lens, and show the talents of remixers and Baron alike. Brill.

TRACK LISTING

A1. Still River Flow (Generalisation Dub) Phoenix (Crooked Goth)
A2. Oxygen (Ruf Dug Remix)
B1. Ballad Of San Marino (Mang Dynasty Remix) Still River Flow (Begin Remix)
B2. Where The Leaves Are Falling (Brown Fang Remix) Across The Street (Generalisation Dub)
C1. Phoenix (X-Press 2 On Fire Remix)
C2. Oxygen (Flying Mojito Bros Refrito)
D1. The Ballad Of San Marino (Chris Coco Extended Dub Version)

A wonderful soul gem first time on 7" vinyl by the relatively unknown artist Jimmy Messina. No breaks and samples just good vibes and perfect for that soul box.

Love is here - a great soul sing a long and a dance floor mover, brung on the sunshine!

Do you wanna dance - is a perfect soul dancer

TRACK LISTING

1. Do You Want To Dance
2. Love Is Here

The opener "Invito Al Cielo" is all amp-moan and synth scratch, yet placid (in the storm-eye sense), featuring some inspired trumpet-Brut and more whispered scats from Kim. The shimmering vibes and sine-pulse of "Hungara Vivo" actually recalls the digi-mosaics of oh-so-au curant electronicsters like Microstoria, yet nonetheless was performed by the band in good ole real time and space. "Radio-Amatoroj" is another long-form spelunk into an audio architectonics of cathedralic proportion. More cymbal-spray and guitar-gong percussives, shifting textures ebb and fade in some kind of psycho-sensory algebra you don't even need to know how to solve.

Previously unreleased live concert from the Jimi Hendrix Experience from 1967. The concert, which took place at the Hollywood Bowl in California in August 1967, features the original Experience line up of Mitch Mitchell on drums and Noel Redding on bass.

The concert followed their incendiary American live debut at the Monterey Pop Festival that June - and immediately preceded the US release of 'Are You Experienced', their debut album - and saw the Experience opening for The Mamas & The Papas.

Before a sold-out audience of 17,000 people, the Experience overwhelmed an unsuspecting audience with a superb show that encompassed his renditions of songs by The Beatles, Bob Dylan, Howlin' Wolf and Muddy Waters as well as signature songs such as 'Purple Haze' and 'The Wind Cries Mary'. This recording has never been bootlegged and captures the Jimi Hendrix Experience at a unique moment in their illustrious career. 

'Live in Maui' is a live performance from 1970 featuring Hendrix, Billy Cox, and Mitch Mitchell at the height of their playing powers - restored and mixed by longtime Hendrix engineer Eddie Kramer. 

Originally released on x2 CD and x3 LP in 2020 (to accompany the feature length documentary Music, Money, Madness… Jimi Hendrix In Maui), this new x1 LP Vinyl version presents highlights from two legendary live shows on 30th July 1970.

After reissuing Hedzoleh by Hedzoleh in 2022, a collaborative effort by Meakusma and Soundway, this new 12inch features remixes by Jimi Tenor, Mark Ernestus, Gavsborg and Waltraud Blischke, transporting and transfusing Hedzoleh's tracks into new spheres and circumstances. Hedzoleh Soundz were one of the first and most original ‘Afro’ bands from 1970s Ghana, playing an unusual mix of traditional music and western rock as part of the West African Highlife scene. The music for the Hedzoleh album was used by legendary South-African trumpeter Hugh Masekela as the backbone to his afrojazz classic, “Masekela – Introducing Hedzoleh Soundz”. The Hedzoleh Soundz Remixes 12inch features an eloquent, deep, deeply poppy even, dub by Mark Ernestus, Jimi Tenor taking the original Rekpete track into even more joyous territory, adding some subtly hypnagogic touches at the end, Gavsborg transforming Y Yes Baa Gee Wo into a beat-based drone of sorts, a toolin the right hands, and a majestic experimental twist by Waltraud Blischke, sampling one Hedzoleh track and one unreleased solo track by Sascha Todd, son of Hedzoleh bass player and vocalist Stanley Todd.

This record came about with the support of Ostbelgien.

STAFF COMMENTS

Matt says: I mean, it's got Mark Ernestus on it - I was already sold! But the other three tweaks are worthy of investigation. The Jimi Tenor rework had me with its meandering sax lines and jagged beats, whilst Gavsborg's wigged-out wobble sucked me into its languid downbeat whirlpool. Top stuff.

TRACK LISTING

Kaa Ye Oyai Don T Be In A Hurry (Mark Ernestus Remix)
Rekpete - (Jimi Tenor Rework)
Y Yei Baa Gbe Wo (Gavsborg Remix)
Sacha Todd S Simplex Meets Hedzoleh (Waltraud Blischke Remix)

It’s a testament to Jimmy Smith’s volcanic creativity that the Hammond B3 organ firebrand recorded not one but two soul jazz classics—Midnight Special and Back at the Chicken Shack—in a single day when he entered Van Gelder Studio on April 25, 1960 with Stanley Turrentine on tenor saxophone, Kenny Burrell on guitar, and Donald Bailey on drums.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

TRACK LISTING

Side A
1. Midnight Special
2. A Subtle One
Side B
3. Jumpin' The Blues
4. Why Was I Born
5. One O'Clock Jump

Jimmy Somerville’s debut solo album Read My Lips is re-issued with rarities and new remixes.

Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits, as well as Jimmy’s Top 10 cover of Sylvester’s ‘You Make Me Feel (Mighty Real)’.

This expanded version contains remixes from William Orbit, AMYL, B-Sides and rarities such as ‘From This Moment On’ (from Red, Hot + Blue) and I Believe in Love (with Arthur Baker and The Beat Disciples).

New liner notes from journalist and author Paul Burston.

TRACK LISTING

Side One
1 Comment Te Dire Adieu 2 You Make Me Feel (Mighty Real)
3 Perfect Day
4 Heaven Here On Earth (With Your Love)
5 Don’t Know What To Do (Without You)

Side Two
6 Read My Lips (Enough Is Enough)
7 My Heart Is In Your Hands
8 Control
9 And You Never Thought This Could Happen To You
10 Rain

Side Three
11 Read My Lips (Enough Is Enough) (AMYL Remix) 12 You Make Me Feel (Mighty Real) (William Orbit Remix)
13 Adieu! (June Et Jim Présentent Madame Tata Mix)

Side Four
14 From This Moment On (from ‘Red Hot + Blue’)
15 I Believe In Love (from ‘Merge’)
16 Comment Te Dire Adieu (Commercial Mix) 17 Rain (Pascal Gabriel Mix) 

Jimmy Somerville’s debut solo album Read My Lips is re-issued on vinyl for the first time since its original release.

Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits including ‘Comment Te Dire Adieu’ and ‘Read My Lips (Enough is Enough)’, as well as Jimmy’s Top 10 cover of Sylvester’s ‘You Make Me Feel (Mighty Real)’.

TRACK LISTING

Side One
1 Comment Te Dire Adieu
2 You Make Me Feel (Mighty Real)
3 Perfect Day
4 Heaven Here On Earth (With Your Love)
5 Don’t Know What To Do (Without You)

Side Two
6 Read My Lips (Enough Is Enough) 7 My Heart Is In Your Hands
8 Control
9 And You Never Thought This Could Happen To You
10 Rain

O’Rourke’s process – sourcing resonant sounds to be enmeshed together into a music that supersedes their resident parts – makes a fitting soundtrack for Kyle Armstrong’s “prairie gothic” tale of down-on-the-farm horror way up north in Canada. His minimalist score inhabits the wide open, big sky landscape, flowing into suddenly-deep (and opaque) emotional waters, then panning out to a chilly omniscient remove. 

TRACK LISTING

1. Go Spend Some Time With Your Kids
2. Wasn’t There Last Night
3. He’s Only Got One Oar In The Water
4. That’s Not How The World Works
5. A Man’s Mind Will Play Tricks On Him
6. Here Is Where I Seem To Be / The Good Lord Doesn’t Need Paperwork
7. You Have No Idea What I Want
8. One Way Or Another I’m Gone

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out. 

TRACK LISTING

1. Ice Cream Truck
2. Stray Dogs
3. The Search For God
4. Swimming
5. True Love Is Freedom
6. Hiding In The Basement
7. Meditiation Song
8. Hellscape
9. The Search For God (Reprise)
10. The Right Time To Leave

Musical legends from opposite sides of the world come together on Hell Yeah's next EP as Japan's Calm and Finnish musician Jimi Tenor collaborate on big city takes. It features two new singles as well as remixes from the celebrated tapes and Belfast's best-kept secret, The Vendetta Suite.

This most satisfying of eps came together when the psychedelic space-jazz-funk king and noted musician, composer and producer Jimi Tenor was in tour in Japan. Label head Marco arranged for him to head into Calm's studio in Kawasaki, Tokyo, and real magic happened.

'Big city takes' is gloriously lush, with serene chords, delicate flutes and organic percussion. Tenor's airy vocal brings the soul as an intimate and late-night groove emerges to melt your heart.

Then come two remixes from tapes. The first is powered by dusty old-school drum breaks. They're doused in subtle euphoria with a nimble bassline down low, while the second one is stripped right back to a pulsing rhythm and killer phased bass. Spread chords bring sunrise feelings to this most colourful of grooves.

On the flip side, Calm offers a version of 'Time & Space' that is nearly eight minutes of exquisitely blissed-out downtempo. Chords ripple like waves, flutes flutter like birds and the whole thing is filled with the joys of a new spring day. The remix comes from The Vendetta Suite, a label regular and under-the-radar talent who is defining his native Northern Irish scene with his fresh fusion sounds. His version brings a new age ambiance to post-rave Balearic comedown. It's one that douses you in life-affirming synths as drums gently persuade you to sway along.

TRACK LISTING

A1.  Big City Takes (Original Mix)
A2.  Big City Takes (Tapes Remix 1)
A3.  Big City Takes (Tapes Remix 5)
B1.  Time & Space (Calm's Version)
B2.  Time & Space (Vendetta Suite Remix)

THIS IS A BLACK FRIDAY 2022 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 25TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 26TH).

Part of Dagger Records’ authorized Jimi Hendrix “bootleg” releases. Mixed by Eddie Kramer, compelling examples of Jimi’s remarkable creative explorations through 1969 and early 1970. In the shadow of Electric Ladyland, the original Jimi Hendrix Experience struggled to remain a cohesive unit, and Jimi’s ceaseless creative pursuit would lead to experimental sessions with bassist Billy Cox and drummer Buddy Miles and ambitious attempts to integrate fresh musical elements. On these studio recordings, Jimi can be heard developing exciting new material such as “Ezy Ryder,” “Cherokee Mist,” “Villanova Junction Blues,” “Izabella,” and “Burning Desire.” Burning Desire was originally released on CD via mail order only, seeing its only LP release on black vinyl as part of a previous Black Friday celebration. The double LP will now be available for the first time since, pressed on translucent orange and red vinyl by QRP as part of the new RSD Encores series revisiting popular releases from the indie retail event’s history.

Los Angeles Forum - April 26, 1969 presents an extraordinary live performance by the Jimi Hendrix Experience. Before a raucous, sold-out house, Hendrix, drummer Mitch Mitchell and bassist Noel Redding tore through a unique set featuring highlights such as "I Don't Live Today," "Purple Haze," "Red House," and an astonishing medley of "Voodoo Child (Slight Return)" and Cream's "Sunshine Of Your Love". This pristine recording, newly mixed by Hendrix's long-time engineer Eddie Kramer, captures the original Jimi Hendrix Experience in their unrivalled, peak form.

A portion of this performance was previously included as part of a short-lived Westwood One radio documentary box set [Lifelines 1990-1992] but has been unavailable in any form for two decades. The CD release with a 24 page booklet--complete with liner notes from ZZ Top's Billy Gibbons who witnessed the show first hand--gives this seminal performance its proper platform, presenting the complete performance mixed directly from the original eight-track master tapes.

TRACK LISTING

Side A
Introduction
Tax Free
Foxey Lady
Side B
Red House
Spanish Castle Magic
Side C
Star Spangled Banner
Purple Haze
I Don’t Live Today
Side D
MEDLEY Voodoo Child (Slight Return) / Sunshine Of Your Love / Voodoo Child (Slight Return)

Released in 2013, ‘Regions of Light and Sound of God’ was the debut solo album from Jim James of My Morning Jacket.

This deluxe reissue features the original album plus a second LP of twelve B-sides, demos and alternate versions, including ‘State of The Art (Demo)’ and the previously unheard ballad ‘Begin Again’.

The double LP is housed in a rainbow foil tip-on gatefold spot matte jacket with revised artwork, a fold-out handwritten lyrics insert and new custom inner-sleeves and centre labels. Pressed on clear/purple blob vinyl.

TRACK LISTING

‘Regions Of Light And Sound Of God’
State Of The Art (A.E.I.O.U.)
Know Til Now
Dear One
A New Life
Exploding
Of The Mother Again
Actress
All Is Forgiven
God’s Love To Deliver

Bonus Disc
All Is Forgiven (Alt Version)
State Of The Art (A.E.I.O.U.) [Demo]
A New Life (Alt Version)
Dear One (Demo)
Actress (Demo)
God’s Love To Deliver (Demo)
You Always Know
Read Between (Begin Again)
Epichord
Sweets
Moving Away (Alt Version)
Hallway Of Trees

Since the dawn of time, humans have had the urge to come together and move to music. It may have started in caves but these days it happens in clubs often found in the shady corners of our towns and cities. Or at least it did until these places began to march to the beat of property developers rather than DJs. In London in the five years to 2016, half of the clubs were lost while a further quarter have been removed in the devastation of Covid. So what now? At this critical moment, 'Out of Space' plots a course through the spaces and unlikely locations club culture has found a home. From Glasgow to Margate via Manchester, Sheffield and unlikely dance music meccas such as Coalville and Todmorden, it maps the key cities and towns where electronic music has thrived, it currently dances and the spaces it might be headed to next. It explores how urban landscapes have acted as a home for other shades of club music too such as pirate radio, dance music festivals, soundsystem culture and more.

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

TRACK LISTING

1. Livestream Superstar
2. Pause
3. Touch
4. Release Party
5. Real World Park
6. Never Give Up On The City 
7. A Day At The Races
8. I Want To Live
9. Lover Boy
10. Empty Rooms
11. Playing To Win
12. Farewell Superstar

Jimi Tenor has always been something of a Renaissance man. On leaving his Finnish homeland for New York in the early 1990s, and later as he travelled through Europe, he quickly discovered what he calls his ikigai, his great joy in life: to record and produce music in DIY mode at home with the most rudimentary of means, spont- aneously and intuitively. In more than 30 years of making music, Tenor has remained true to his ideal, whether as a solo artist on his early electronic albums or in the widely diverse collaborations and constellations which followed (with the likes of Tony Allen, Kabu Kabu, Abdissa Assefa). "Multiversum" is now his third album for Hamburg-based label Bureau B.

Jimi Tenor and Bureau B first teamed up in 2020 on the former's "NY, Hel, Barca" retrospective and continued their association with the release of "Deep Sound Learning", a collection of rarities, in spring 2021.

Whilst Tenor has predominantly released jazz and Afrobeat records over the past two decades, his live performances have often seen him return to his minimalist roots. Enthralled by how Jimi Tenor the solo artist conjured up his space music with just a synthesizer, flute and saxophone, Bureau B ultimately invited him to record an album with this basic and yet astoundingly effective set-up.

Within just a few months, Tenor delivered an impressive selection of new pieces to Bureau B; all recorded in his Helsinki home studio. These tracks are now presented on "Multiversum", a record which provides further proof of Jimi Tenor's versatility. Based on drum machine beats and synthesizer loops, Tenor's music invites the listener to drift into open, limitless expanses - he is a master of the unforeseeable, audibly infusing all twelve new tunes with a sense of joie de vivre and intuition, with no recourse to standards. "Multiversum" is a declaration of love to the DIY spirit, somewhere between bedroom jazz and deviant techno.

As a counterpoint to the album release, "Omniverse" is one of the first books to be published in ‚Bureau B/Tapete Records' joint venture with the Mainz- based publisher Ventil. It is an impressive portrait of the artist, packed with photos and stories documenting Jimi Tenor's life and career in music.

TRACK LISTING

1. Slow Intro
2. Life Hugger
3. Jazznouveau
4. Uncharted Waters
5. Baby Free Spirit
6. Monday Blue
7. Bass Kalimba Dance
8. Birthday Magic
9. Gare De Noir
10. RajuRaju
11. The Way To Kuusijärvi
12. Bad Trip Good

AM Jazz was the moment we all became truly acquainted with Alan Roberts; the melodic maestro beneath Jim Noir’s dandy exterior, whose hypnotic minimalist symphonies waltzed their way to Piccadilly Records’ #2 Best Album of 2020. Not to mention a whole host of great reviews….

No less than 12 months later arrives ‘Deep Blue View’ – not so much of a follow-up, as a mini-flipside moving the Jazz from AM to PM, between city and sea.

“I originally had AM Jazz down as walking around some New York backstreet at 4am, smoking in a fedora, looking for crimes to solve but it now ends as night begins,” reveals Al, of his latest tale’s gradual evolution. “Deep Blue View is the night-time album now… like losing yourself deeper in the fog, or disappearing in the sea… would someone, or some 'thing' come to save you or would they , or it , come along for the ride?”

Usually by now, Daveyhulme’s own could-be John Barry would have left distractions of success for suburban side-projects and writing with his fellow Mancunian musicians, but AM Jazz left unfinished business - and, with 50 or so session recordings leaving a litter of sonic debris strewn about the cutting room floor, one major clean-up. Deep Blue View is 6 brand new tracks crafted from its reconstructed and revived remnants, unfurling like Sinatra’s Wee Small Hours to reinforce the strangely beautiful atmosphere of Al’s now revered repertoire.

“I had the urge to create something new and started playing around with different EPs and pseudonyms but when I sequenced these tracks, I was really happy how smoothly they flowed; it just needed an opener. I quickly wrote ‘Deep Blue View’ and it fell into place. It’s great, so I carried on, knowing it was time to save the best stuff for myself,” Al grins.

Just as AM Jazz was created in the spirit of his earlier working style on debut album Tower of Love, Deep Blue View fuses Al’s love of finding the ‘right’ in the odd, weird, back-to-front and everything in between, with the hi-fi meets lo-fi sounds of his crate-digging curiosity and empathy for TV themes and movie soundtracks. Guided by melody, his home-based sorcery of working with analog, tape and field recordings opposed to the lure of studio mechanics allowed his inner subconscious to tap at the door and reveal itself in new musical forms. “In the studio it’s tempting to turn everything up loud but I’ve got bad tinnitus and don’t want to write anything else in a Beatles style. I have done all that now… at home I have a computer, a microphone and just go crazy and lose myself staring at the screen. Then suddenly loads of music is written.”

Setting his inner autopilot to flight mode, ‘Peppergone’ adds to the tracks’ nocturnal narrative and appears reborn after a last-minute culling from AM Jazz’s initial tracklist. Like a beautifully romantic ode to Beethoven’s Moonlight Sonata, it is a fitting tribute to dearly departed best friend 'Batfinks', written in the middle of a tough night. “I have no idea why or how the song came about because I was so upset to do anything, let alone record any music. But there you go. Somehow I did and it’s a really special thing. I know he would have dug me using his chords; growing up we’d both try to create the perfect chord sequence. This is his idea of that. I hope he doesn’t think it’s shit,” Al jests.

Also revived from AM Jazz’s archive is the simmering groove of ‘Night Talk Late Street’ and instrumental ‘Star Six Seven’, whilst ‘Have Another Cigar’ weaves its own semi-autobiographical fairy-tale with lyrics written and sung by long-time pal and former housemate Aidan Smith. Transformed from backing track into a cool morsel of story pop, it recalls the drunken joy of when the pair would make recordings together between singing the Everly Brothers at full volume. “I’m sure it’s about not wanting the musical party to stop and having to get on with real life,” Al says.

‘String Beat’ meanwhile, soars like a beautiful Bond theme with the shimmer of Lee Hazlewood holidaying in Palm Springs, alongside perhaps, the waltzing string-like synthonies of some long-lost rhythm and blues orchestra of Davyhulme (whose real-life origins reside with the Berlin Symphony Orchestra), introduced to him by Super Furry Animals’ Cian Ciaran. “I’ve never created anything this moody before and have always threatened to do something John Barry-esque with some slightly dark and spooky musical changes.”

First may not be worst, but as AM Jazz has proven, second can be best and as a master of suspense Jim’s Deep Blue View arranges the day to night pieces of another puzzle that makes a whole lot of sense.

STAFF COMMENTS

Andy says: Another absolutely beautiful record. Gonna be one of my favourites of the year, I can tell already.

Barry says: Where 'A.M Jazz' wasn't particularly true to its name, 'Deep Blue View' plunges much more readily into smooth jazz waters, with swimming melodies and progressions perfectly befitting Roberts' hazy dreamlike vocal lines. A brilliantly cohesive and fitting follow-up to A.M Jazz, showing the rapid upwards trajectory of this local gem. Brilliant.

These 13 is a little bit folk, a little bit gospel, a little bit bluesy, a little bit Hank, a little bit hill country, but most emphatically, it is all heart. Andrew Bird and Jimbo Mathus have climbed the height of their creative ladders in this collection of soul-strung songs, both lyrically and musically, a synchronicity between the two that feels joined in some special imaginative place that can only be visited by the best of songwriters. All songs written and performed by Andrew Bird + Jimbo Mathus  and produced by Mike Viola. Themes: Connection, Humanity, Geography and Collaboration.

TRACK LISTING

1. Poor Lost Souls
2. Sweet Oblivion
3. Encircle My Love
4. Beat Still My Heart
5. Red Velvet Rope
6. High John
7. Stonewall (1863)
8. Bright Sunny South
9. Bell Witch
10. Dig Up The Hatchet
11. Jack O' Diamonds
12. Burn The Honky Tonk
13. Three White Horses And A Golden Chain

“Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now. 

STAFF COMMENTS

Barry says: An intoxicating mix of traditional folk, hazy psychedelia and classic rock progressions all enriched with Ghedi's distinctive vocal affectations. It's a heady and transportive affair, and one that will reward richly on repeated listens. Gorgeous.

TRACK LISTING

1. Common Thread
2. The Lamentations Of Round Oak Waters
3. Mytholm
4. Stolen Ground
5. Ah Cud Hew
6. Beneath The Willow
7. Beneath The Willow Part II
8. Son David

The Quickening is an improvised work guided by emotional intuition and an ability to spin collective experience into music of potent and boundless beauty.

Jim White and Marisa Anderson instrumental voices’ are unmistakable and spellbindingly lyrical. Anderson unravels global guitar traditions into atmospheres all their own through improvisations and transforming melodic lines. While White implements an array of sticks, brushes, and techniques that imbue each rhythmic percussion passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought.

White and Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others.

Anderson’s prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade.

White and Anderson’s considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo’ friendship and shared explorative nature inform these warm and daring improvisations. Their remarkable performances take the listener on a journey of exuberant discovery.

The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris white. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70’s that had been largely closed before some young engineers took it over. The “slight disorientation” of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of “The Lucky” and “The Quickening”. The duo did not rehearse or perform together prior to the recording sessions; as White puts it, “it’s good to suspend disbelief at this stage of playing.”

TRACK LISTING

Gathering
Unwritten
The Lucky
The Other Christmas
Song
Last Days
Diver
The Quickening
Pallet
18 To 1
November

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. 

TRACK LISTING

SIDE A
Who Knows
Machine Gun
Recorded January 1, 1970 Early Show

SIDE B
Changes
Power To Love
Message To Love
We Gotta Live Together
Recorded January 1, 1970 Late Show

Finnish composer and multi-instrumentalist Jimi Tenor has joined forces with Bureau B to release "NY, Hel, Barca" - a retrospective compilation spanning the years 1994 - 2001. The double LP features early works and selected tracks from his first six albums, long since deleted. The 20 tracks on "NY, Hel, Barca" document key stages of Jimi Tenor's remarkable creative path, underlining the prolific and varied nature of his artistic output. Then as now, he shines like a satellite hovering over the European pop landscape. 

A record to be enjoyed to its very last second AM Jazz is set to place this songwriter where he just might, finally, receive the recognition he deserves; from unsung hero to a truly worthy candidate for being called up to join the City of Manchester’s ranks of great musical icons. Whether you prefer to know him as Mr. Roberts or simply call him Al, it’s time to become acquainted with the real Jim Noir.

Tossing his bowler onto the hat stand and sliding on his slippers, AM Jazz sees ‘Jim’ putting his feet up whilst Alan Roberts takes the lead. A creative masterpiece for the record player and the mantlepiece, it’s a multi-layered album that features close friends including those dearly departed, and is his truest record to date, by a songwriter painting his own hypnotic Portrait of the Artist as a Young Man.

“I haven’t 'felt' like Jim Noir for a long time. I’m not sure I ever did; it was a construct of other people’s imaginations,” reveals Al. “AM Jazz is definitely the kind of music I make generally. It harks back to when I started making music years ago and didn’t worry about capturing a particular style. It will be nice to show people more of that. It's the best album I've written; real hypnotic minimalism, the good stuff!”

15 years since he recorded the first ever 'Jim Noir' EP, AM Jazz is the record all Noirheads won’t be surprised Al had inside him. Letting the Beatlesesque stylings of his most recent album Finnish Line be (5 years ago no less), AM Jazz suits the Noir repertoire of his catalogue so far and is another homegrown offering which sees the Daveyhulme composer tinkering in his suburban Manchester studio once more, with the magic of his computer work sorcery, analog and tape recordings. “For this I went back to the slightly more haphazard way I wrote my first album, Tower Of Love, wherein I’d use things in front of me, or a bit wrong like headphones for a microphone, to make the most Hi-Fi Lo-fi album ever.”

Whilst a brief disappearance of Jim’s online persona may have provoked bleak theories as to his whereabouts, Al had little time for digital distraction. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analogue house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith with his long-awaited 'The Planets' project; “I’ve been writing in dribs and drabs when I feel like it,” Al says. “I used to write all day everyday but it’s a lot harder now I’m (feeling) over 100 years old.” Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard’s film Eaten By Lions.

Performing all AM Jazz’s instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, ‘Hexagons’ features 'Phil Anderson' and Mark Williamson singing and playing “legendary OTT guitar solo” respectively. Meanwhile the orchestration of ‘Peppergone’ waltzes like a beautifully romantic ode to Beethoven’s Moonlight Sonata – a tribute to dearly departed best friend 'Batfinks' who originally wrote the chords in his song 'Peppercorn.' “I hope he doesn’t think it’s shit,” Al jests. Listen closely and you may even find a few unsuspecting celebrity guest appearances as, perhaps, it could be the very first album to feature soundbites of podcasts sneaking onto the recordings. “I will have a podcast on if I’m recording; Adam Buxton, Athletico Mince, Frank Skinner or Richard Herring… I’m sure some mics will have picked them up, like in the old Tower of Love days,” he says referring to his breakout debut.

Culled from around 50 tunes AM Jazz moves like the time of the day, from dawn to night, stirring from the pop of ‘Good Mood’ and ‘Upside Down’s Beta Band groove. “As the album was playing, I imagined this smoky backstreet with all those neon signs outside clubs at about 4am,” Al says. Mellow ‘TOL Circle’ is like Percy Faith’s Theme From A Summer Place synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al’s curiosity, and the album plunges into a vast chasm of instrumental exploration with ‘Mystermoods,’ visiting Japan’s funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, ‘Eggshell’ is like an undiscovered gem from Angelo Badalamenti’s cutting room floor, the Panda Bear shimmer of ‘Lander’ is where blissful positivity and sadness meet, about another of his friends who left the world too young. “By the album’s close, its nearly time to let go and enter the ether,” he says of the album’s story. “Like one would do when they take their final sigh on this earth.”

STAFF COMMENTS

Andy says: It’s 14 years since Jim Noir’s debut album and the way the music scene works (chew them up spit ‘em out, next!) you could be forgiven for heaving an almighty shrug. Playful, whimsical (his stage name is derived from a Vic Reeves character!) quirky Mancunian, songs used in adverts and video games, cute, charming, retro sounds, etc etc; all kinda true, but only half the story. This guy, real name Alan Roberts, is a genius songwriter, for whom the notion of pop “relevance” should not apply. His way with melody is right up there with the very best, and these harmoniously overlapping songs actually remind me of a Paul McCartney or Brian Wilson.

This record is quite simply beautiful. Forty one minutes of lush, blissed-out, mesmerising song craft. It starts with a Fanclub-style classic, moves through upbeat Super Furries fun then slides into three Air style velvet funk groovers, including album highlight “Hexagons” which is the best song I’ve heard all year. Then a nine minute mid record three song instrumental passage (a dream!) sets you up perfectly for Side 2 where Alan revisits that stunning opener but with added melancholy, before drifting off into second big standout “Lander” where swathes of shoegaze distortion, heavenly keys and percussive beats provide chillwave vibes as the chords shift gorgeously underneath. All that remains is for the record’s fourth instrumental and title track to play you out; high, lonely, but fuzzy and still beautiful. It’s a trip.

TRACK LISTING

1. Good Mood
2. Upside Down
3. Hexagons
4. Beatheart
5. Tol Circle
6. Feel O.K
7. Wonders Amber
8. Eggshell
9. Lander
10. A.M Jazz

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won him, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish reissue of Jim’s 1972 sophomore album, Jim Sullivan.

The self-titled LP was originally released on Playboy mogul Hugh Hefner’s short-lived Playboy imprint. Horns sweeten this funky and bombastic session driven by Jim’s unmistakably larger-than-life voice and exceptional song-writing chops, alongside a cast of legendary session musicians including Jim Hughart. Another LP you’ll rarely see in the wild, it is by no means the poor relation of U.F.O., but rather a big stride into country, folk rock, and swampy blues, mesmerically finger-picked, brass-bedecked, and with that uniqueness of phrasing–part crooner, part jazz singer–that makes Sullivan such a rare performer.

Each song could have been a bonafide radio hit, but with spotty promotion and negative connotations surrounding the Playboy name, the self-titled album suffered a fate known all too well and fizzled out. While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue.

TRACK LISTING

Don't Let It Throw You
Sunny Jim
Tea Leaves
Biblical Boogie (True He's Gone)
Lonesome Picker
Sandman
Tom Cat
You Show Me The Way To Go
Amos
I'll Be Here
Plain To See

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.

TRACK LISTING

Roll Back The Time
Sandman
Walls
Jerome
What To Tell Her
Grandpa's Trip
So Natural
Whistle Stop / Mama
What Is My Name
Close My Eyes

“The idea for UNIFORM CLARITY came from UNIFORM DISTORTION,” says James, “an album of intentional chaos/dirt: literal and figurative distortion of lyrics and sound meant to echo and hopefully shed some light on the twisted times and distortion of the truth in which we now live. UNIFORM CLARITY is meant to illuminate the other side – raw and real, but very clear, much like in the early days of recording where all you could hear was the truth because there were no ways to manipulate recordings in the studio. Working with Shawn Everett, we created a document style recording of these songs- just vocals, guitar and the space itself- no special FX. A crystal clear illustration of the flawed beauty of what a song starts off as or sometimes remains- a thought. a seed. a light from the womb of the universe brought to life down here on earth."

TRACK LISTING

1 Just A Fool
2 You Get To Rome
3 Out Of Time
4 Throwback
5 No Secrets
6 Yes To Everything
7 No Use Waiting
8 All In Your Head
9 Better Late Than Never
10 Over And Over
11 Too Good To Be True
12 It Will Work Out
13 Flash In The Pan

‘Melinda Latino’ is taken from the awesome ‘Melinda’ OST written by Butler & Peters, released in 1972. This is a heavy track right from the first beat - harps and breakbeats, leading into a soul piano mood, huge strings and backing vox. Jimmy Smith’s version of Barry White’s ‘I’m Gonna Love You Just A Little Bit More Baby’. A very dope intro break leads into crazy vocal chops before heating the main melody, in true Jimmy Smith style. Taken from his ‘Black Smith’ LP for Pride, released in 1974.

Jim James third studio album ‘Uniform Distortion’ follows on from his previous success from being frontman of My Morning Jacket.Uniform Distortion was produced by Jim James and Kevin Ratterman at Louisville, KY’s La La Land, with Ratterman also serving as recording engineer. All songs were written by James, who is backed on the album by bassist Seth Kauffman (Floating Action) and longtime touring drummer Dave Givan, with backing vocals provided throughout by Dear Lemon Trees’ Leslie Stevens, Jamie Drake and Kathleen Grace. “The name of my new record is Uniform Distortion because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.” says James. Uniform Distortion is James’ finest work to date filled with compassion and brimming with meaningful ideology. 

STAFF COMMENTS

Andy says: Jim James does things differently on his solo records and this one's no exception. Raw, playful and rocking, but still with melodies galore, which other massive alt-rock stars keep things this fresh!

TRACK LISTING

1. Just A Fool
2. You Get To Rome
3. Out Of Time
4. Throwback
5. No Secrets
6. Yes To Everything
7. No Use Waiting
8. All In Your Head
9. Better Late Than Never
10. Over And Over
11. Too Good To Be True

Tribute To is a collection of George Harrison songs recorded by Jim after George’s death. “All I had was that eight track at our studio and right after George died I just went up there and sat in a room and played those songs to try and deal with the emotions I felt from his passing and pay tribute to him” said Jim James.

Spin described the EP as “spare and somber – just that windy Americana tenor against a squeaky acoustic guitar … Many of us remember where we were when Harrison died; now we hear when James began to heal.”


This re-issue includes a bonus track, a cover of "If Not For You".

TRACK LISTING

Long, Long, Long
Behind That Locked Door
Love You To
If Not For You
My Sweet Lord
Ballad Of Sir Frankie Crisp (Let It Roll)
All Things Must Pass

After releasing the politically charged solo album ‘Eternally Even’ in 2016, My Morning Jacket frontman Jim James returns with ‘Tribute To 2’, a collection of cover songs that reverberate with hope.

Unlike his 2009 mini album of songs by George Harrison and the Beatles, ‘Tribute To’, which was recorded on an eight-track, reel-toreel tape recorder in the days following Harrison’s passing, the 11 songs of ‘Tribute To 2’ were recorded over a period of years, in different places, with different gear and varied instrumentation. James explains, “These are some of my favourite covers - songs I recorded trying to bring myself peace during a rough time or trying to make myself laugh or just have fun. I hope others can relate and enjoy the journey during these tough times and hopefully in times of peace and love as well!”

Jim White gets around. When he’s not releasing his own critically acclaimed solo albums he splits his time producing records for other songwriters, exhibiting his visual art in galleries and museums across the USA & Europe and publishing award winning fiction. His sixth solo studio album, the bizarrely titled Waffles, Triangles & Jesus, is a mind-bending joy ride of sonic influences featuring a bevy of his hometown Athens’ roots musicians, plus west coast indie darlings Dead Rock West, and rock and roll maverick Holly Golightly.

STAFF COMMENTS

Barry says: Here we get Jim white tackling at least two out of the three tropes associated with that there Americana (maybe triangles will be the next big thing). Whilst he may not be the first to tackle the subjects, he does it with a aplomb. Witty ruminations, catchy tunemongering and straight-out vibes. Excellent stuff.

Recorded and mixed in San Francisco February through June of 2017.

Words by Mark Kozelek. Music by Kozelek, Ben Boye and Jim White of Xylouris White, and most notably, Dirty Three with frequent Nick Cave collaborator, Warren Ellis. 

TRACK LISTING

House Cat
Topo Gigio
Fur Balls
Los Margaritos
Astronomy
Blood Test
Ashes
February Rain
The Black Butterfly
The Robin Williams Tunnel

This is a 20 track, double (140gm), vinyl format which includes a download code insert.

All the biggest & best hits are on here, including:- "All Along The Watchtower", "Crosstown Traffic", "Purple Haze", "Foxey Lady", "Hey Joe", "Voodoo Child", "Stone Free" & many more...

"If you don't vote it's on you, not me," Jim James sings on his second solo album. It's an election-year entreaty geared towards too-pure leftoid lintheads, but the song is no screed, befitting a guy whose music usually turns inward. James floats his humidly ethereal soul mumble over seven minutes of a languid beat, cottony strings and chill organ bleat. Throughout Eternally Even, the My Morning Jacket mainman renders his change gospel with conversational grace, Bill Withers warmth, Sly Stone optimism and Neil Young conviction – less soap box pugilist than lazy-Sunday sage.

The music recalls Aquarian soul, Nineties trip-hop and laser-gun funk: "True Nature" ties a find-your-mission message to a hazily coiled Blacksploitation groove; the loose flowing prettiness of "Here in Spirit" links today's battles to a history of struggle. The sonic spaciness can sometimes undercut James' less probing moments ("This world is war and blood when it could've been love," he observes on "We Ain't Getting Any Younger (Pt. 2.)" More often, the effect is charming. The gentlest moment is the title cut, in which his Kentucky coo cuddles against a track that's like Dark Side of the Moon as an astral doo-wop lovers prayer, reaching for a personal and social over-the-rainbow moment of Zen so sweetly visioned it feels like it's already unfolding –walking in the shadows, tripping towards the light. 

STAFF COMMENTS

Andy says: This record has the meandering, groovy, mellow and melancholic vibe of Marvin's masterpiece "Here, My Dear". Stoned, soulful, fuzzy songs bleed into one another to create a powerful meditation on the times (political and personal). It is a stunning record.

TRACK LISTING

1. Hide In Plain Sight
2. Same Old Lie
3. Here In Spirit
4. The World's Smiling Now
5. We Ain't Getting Any Younger Pt. 1
6. We Ain't Getting Any Younger Pt. 2 [Explicit]
7. True Nature
8. In The Moment
9. Eternally Even

A 'Legacy Vinyl' release, painstakingly restored to its original 1969 format,

"Smash Hits" features 12 classic tracks, including "Purple Haze", "Hey" Joe", "Stone Free" and "Manic Depression".

Features a recreation of the poster included in the original LP release with Jimi, Mitch, and Noel dressed as cowboys from the Warner Brothers’ film studios in early 1969.

TRACK LISTING

1 Purple Haze
2 Fire
3 The Wind Cries Mary
4 Can You See Me
5 51st Anniversary
6 Hey Joe
7 Stone Free
8 Manic Depression
9 Highway Chile
10 Burning Of The Midnight Lamp
11 Foxey Lady

Jimi Hendrix's debut recording was an instant classic, and is as startling today as when it first hit the streets in 1967. "Are You Experienced?" is probably the most rock-oriented of Hendrix's official studio releases, but its influences are incredibly diverse. "Third Stone From The Sun" recalls the supple octaves of jazz guitarist Wes Montgomery; the churning Afro-Cuban polyrhythms of "Manic Depression" evoke John Coltrane and Elvin Jones; "I Don't Live Today" employs ritualistic Native American drum beats; and the title tune borrows the Eastern airs of sitarist Ravi Shankar.

Mitch Mitchell and Noel Redding blast away with a barely controlled fury, and there's a distorted metallic edge to Hendrix's guitar timbre that has made "Are You Experienced?" a particular favourite among rock and heavy-metal guitarists. "Purple Haze" and "Foxy Lady" helped define the power-trio format, thanks to Hendrix's full-bodied rhythm guitar and his soaring solos. "Are You Experienced?" also established Hendrix as a singer-songwriter. His Dylanesque vocals and spacey imagery make each tune a little gem, especially on gentle outings such as the ballad "The Wind Cries Mary".

"Axis: Bold As Love" was the follow-up to "Are You Experienced?", and represented a much more conscious use of the recording studio's possibilities. Where his live shows continued to showcase the raw rocking power of the Experience, the recording studio gave Hendrix the composer/arranger a broader palette. There are still plenty of powerful blues/rock-inflected songs, such as the menacing "If 6 Was 9", the rolling "Spanish Castle Magic" and the spatial title tune. But "Up From The Skies" is a jazzy trio romp, featuring Hendrix's bluesy, vocalised wah-wah pedal. And on the ballads "Little Wing"and "Castles Made Of Sand", Hendrix shifts the focus from the band to the silvery chord/melody accompaniments he often employed to complement his vocals. They are an orchestral effect unto themselves.

This classic Jimi Hendrix album was released in 1971 & has been unavailable for a long time, before being remastered, with original artwork for these 'Legacy Recordings' releases.

Originally part of an ambitious double album project, "The Cry Of Love" is a ten track album compiled and mixed by Eddie Kramer & drummer Mitch Mitchell at Electric Lady Studios, New York.

On "Electric Ladyland" Jimi Hendrix stretched and experimented in the studio, going beyond the power-trio format on what would be his last studio album with the Experience. "Electric Ladyland" was revolutionary in its scope and execution. Using New York City's Record Plant as a gateway to free expression, Hendrix traversed an abstract landscape containing compositions as weird and wonderful as "...And The Gods Made Love" and "1983...(A Merman I Should Turn To Be)".  Simultaneously looking forwards and backwards, Hendrix mixed in a song reminiscent of his time on the chitlin' circuit (Earl King's "Come On [Part 1]"), a Bob Dylan favourite ("All Along The Watchtower"), and one of his snappiest singles ("CrosstownTraffic"). Although Hendrix produced and wrote most of this masterpiece, others weighed in with their own contributions. Noel Redding penned "Little Miss Strange", and other guests such as Al Kooper and Buddy Miles showed up to play. Traffic's Steve Winwood and Jack Casady of Jefferson Airplane also made cameos, appearing on this classic album's spiritual centre, "Voodoo Chile (Slight Return)".

Continuing further into the music of 1970s East Africa, Soundway present a limited edition 10" of raw, bluesy garage-funk-rock from Jimmy Mawi.

Jimmy Mawi was a Madagascan guitarist based in Nairobi in the mid 1970s. He cut only three 45s for EMI East Africa on their Pathe imprint that have virtuallydisappeared from sight in the nearly 40 years since they were recorded. Soundway reproduce four of the best tracks here on a super limited edition 10". Fuzz guitars, raspy vocals and metronomic drumming combine for an exhaustive afro-rock workout.

Earlier this year Soundway released their compilation 'Kenya Special: Selected East African Recordings' from the 1970s & ‘80s. Accompanied by a limited remix 12” these releases represent Soundway’s first releases from the East African country and follows from their much acclaimed African ‘Special’ series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana.

TRACK LISTING

Black Dialogue
I Want Get Up
Black Star Blues
Let Me Keep Away From You

Following his eponymous album release earlier this year Jamie Lidell  drops remixes of album favourite ‘Big Love’ PINK 12” vinyl .

Riding high on the release of his new album 'Vapor City', Machinedrum (also of Sepalcure, Jets, OM Unit and Dream Continuum) delivers a tough steppers version that combines early dubstep rhythms, acid synths and snapping 808 percussion. Next we have Lidell band member Lorenz Rhode combines 80s electro-funk synth riffs with a tougher 2013 sound. On the flip multi-talented Detroit-based electronic producer, designer and photographer, Jimmy Edgar hits us with a wicked 80s proto-techno / electrodisco version. Crackboy goes his own way with a slammin' house refix of other album track ‘You Naked’, which pitches Jamie's vocal down for a sleazy robot soul style.

TRACK LISTING

A1. Big Love (Machinedrum Remix)
A2. Big Love (Lorenz Rhode Remix)
B1. Big Love (Jimmy Edgar Shout Edit)
B2. You Naked (Crackboy Remix)

Debut single from French 3-piece electronic garage band, The Jimi Ben Band. Based in Lille, France, they came to our attention having played with Thee Spivs. We strongly suggest you YouTube the video to experience the full majesty and psychedelic majesty of the band.

Once upon a time, Jimi Ben found himself lost in the jungle. He had been wandering in South East Asia for years and could find no way out. One night he was cruising for dirt and love, he got struck by sexedelic visions emerging from the red lights of go-go bars. An inner baboon voice told him: “Jimi ! Bad is good for you. Why don’t you set up a Rock’N’Roll band ?”. That’s exactly what he did. Back in his hometown (Stockton, Northern France), he was taught by long time friend Ricky Love how to play power chords on a guitar and recorded a first LP demo on a 4 tracks tape recorder in his kitchen.In December 2009, Johnny Boom (drums) joined Ricky Love (bass, vocals) and Jimi Ben (vocals, guitars) for their first show and further DIY tape recordings (Monkeys In Da House EP – 2011). Mainly influenced by American Garage bands, 60’s British Beat groups, Surf Music, Punk Rock and New Wave, these slackers like it rather cheesy, danceable and fun. The Jimi Ben Band started as a lo-fi garage trio. Since then, they have performed about 40 shows in France and Belgium and developed a degenerate style based on energy, coconut vocals and great amounts of reverb. They have made it quite clear that they wanted nothing but having girls dancing at gigs.

The Icons Fatalities Series features some of our late great heroes.

Blank inside for your own message.

Jamie Lidell's second album, "Multiply" caught people off-guard in 2005. Few expected the restless sonic scientist to make an uplifting soul record, but he did; and audiences and critics were captivated by the fusion of his influences with deeply felt song writing, meticulous production skills, and most of all, that amazing voice. And now here he comes again. Recorded in Berlin, Los Angeles and Paris, "Jim" takes even further what was started with "Multiply", finding the balance between the spontaneous creativity of his raw ideas and the careful craft and polish of a great record. The musical world of "Jim" is richer and more refined; but it always comes back to the voice. "Jim" will switch you on in the morning, move you on the dancefloor and take you down in the small hours. It's a bold, promiscuously diverse album, mixing up gospel grooves, sweetly sung and fiercely passionate soul, delicately moving ballads, thumping early R&B, synthed-up disco, and even a touch of 'hillbilly funk'.

Debut single on Clown Prince recordings, from this Wigan based singer / songwriter who cites influences as diverse as Johnny Mathis and the Sex Pistols. His songwriting encapsulates his thoughts and feelings on life with a blend of pathos and tongue in cheek humour, in the most English, self-depreciating way.

Jimmy Dludlu has made a sophisticated smooth jazz guitar album and mixed it to the rhythms of his native South Africa, added a pinch of latin samba style and another smattering of gospel and the result is "Afrocentric". Jazz with a township tinge.

Don Santiago Jimenez was one of the pioneers of Texan / Mexican music in the late 1940s - 1950s. His conjunto / norteno accordion style and the outstanding bajo sexto work of the Zimmerle brothers produced the polkas, valses and other lilting tunes on this album. It's an open invitation for the listener to dance in the slow paced and heady atmosphere of a Texan Summer night.

Jimmie Lee is a champion of the old acoustic roots blues style. "...All My Life" is an acoustic testament to his commitment to simple, direct and honest blues playing.

Jimmy Eat World are currently riding high at the moment with their critically acclaimed new album "Bleed American" selling by the truckload and the band's video for "Bleed American" on MTV. This CD compiles singles, comp tracks and unreleased demos plus the three tracks from the bands split EP with Jebediah. Remastered classy stuff.

A collaboration between Lin Culbertson, Tom Surgal (Collectively White Out) and the esteemed Jim O'Rourke. The Contents of this album are totally improvised, recorded in one take, with no over dubs.