Originally released in 1985, this mini-LP featured the "London lineup" of Simon Bonney, former Birthday Party stalwarts Mick Harvey and Rowland S. Howard, Rowland’s bassist brother Harry Howard, and drummer Epic Soundtracks (formerly of Swell Maps and Jacobites). The record presented a more refined sound compared to their self-produced EP and was recorded between Hansa Tonstudios, Berlin and The Strongroom, London, with sound engineer Flood (a-ha, Depeche Mode, Erasure). In an interview with Uncut, Harry explained, “The first EP, 'The Dangling Man,' was a bit raw. For 'Just South Of Heaven,' we tried to create a more elegant record, and it worked quite well.”

TRACK LISTING

1. Rose Blue
2. The Coal Train
3. Stolen & Stealing
4. Five Stone Walls
5. Trouble Come This Morning
6. The Wailing Wall

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH 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 8PM ON MONDAY APRIL 22ND.

Mercury Studios is releasing a 3LP of the South Park 25th Anniversary Concert for Record Store Day 2024. This concert was recorded over two nights on August 9 and 10, 2022 at Red Rocks Amphitheatre in Morrison, Colorado and features performances from South Park creators Matt Stone & Trey Parker, along with Primus and Ween. Also included is a special performance of ìCloser To The Heartî with Geddy Lee and Alex Lifeson from Rush in their first public performance together since Rush retired from touring in 2015. The 3LP package is pressed on ìTowelie-blueî vinyl and is numbered up to 5500 copies.Please be advised that Record Store Day will be making an official announcement of the titles in early 2024, so please keep this info confidential until we have word on the announce date from them. The canvass for this title will begin in the next couple days.SynopsisCelebrating 25 years of the animated sitcom South Park at the famed Red Rocks Amphitheatre in Morrison, Colorado, this 3LP package, pressed on ìTowelie-Blueî vinyl, features South Park creators Trey Parker and Matt Stone along with Primus and Ween performing a variety of songs made famous by the show. Also included is a special guest appearance by Rushís Geddy Lee and Alex Lifeson, performing ìCloser To The Heartî alongside Primus and Matt Stone.

Devon Rexi return with the mini-LP “Biya Ba Man”, a new and improved take on the no wave steppers and post punk grooves of their debut “Tambal EP”.

This leftfield five tracker sees the band expand to a quintet, with originators Nic Mauskovic (drums and vocals) and Nushin Naini (bass and vocals) joined by Tobias Jansen on turntables and production, Lyckle de Jong on synths and effects and Goya van der Heyden on percussion.

The extra players collaborate to send Devon Rexi’s sound in new directions, amplifying the already extra-dimensional vibe. Synths and vinyl manipulation render a trip hop vibe to the post punk brew, reminding of zoned-out jams like Maxinquaye, or those heady early Mo’Wax.

Opening track “Sjikamo” sets the tone at a deconstructed hip-hop tempo, samples spliced up like a classic Celluloid album. “Fargh Nimikoone” ups the pace with a funky 135 bpm lean, and Nushin’s harmonized vocal sounding ever more alien over the conga rhythm. “Marde Pir” closes the first side at another beatdown tempo, the drums flexing like factory pistons.

The B side fires up with “Biya Ba Man Biya” - a proper steppers bounce, Nushin’s farsi singalong chorus is as catchy as it’s ever been. The Mini-LP concludes with “Koja Raftan” bringing plenty of Bomb Squad energy, a crescendo of fine maximal percussive style.

It’s no wave, but not as we know it. With new members bringing effects and collage elements to the spacious minimal wave core, there’s plenty of avenues for future formations of Devon Rexi to explore.

- Liner Notes by Fizzy Veins

TRACK LISTING

Sjikamo
Fargh Nimikoone
Marde Pir
Biya Ba Man Biya
Koja Raftan

The long lost 1968 debut album by singer-songwriter, Scott Fagan, once tipped to be bigger than Elvis, is set for release on 9th February 2024 via Earth Recordings. ‘South Atlantic Blues’ will be reissued for the first time in its original artwork, with an iconic portrait of Fagan by famed rock photographer, Joel Brodsky, following a widely celebrated 2015 release.

Revisiting his mystical, mythical, and deeply soulful masterpiece, this psych-folk gem doffs a Tropicalia hat direct from downtown New York. “His songs embrace a broad sonic fantasia, swirling in ’60s New York R&B and ’40s jazz, as well as the Caribbean rhythms of calypso, meringue and Pachanga.” New York Times

Scott Fagan’s story is worthy of a movie in itself. A swinging hipster who landed in 60s Greenwich folk scene, escaping the abject poverty of his U.S. Virgin Islands upbringing, Fagan found himself mentored by the Brill Building’s Doc Pomus and Mort Shuman, and feted as the next big thing. “Forget Rodriguez, forget Searching for Sugar Man,” says Sharyn Felder, daughter of the late Doc Pomus, the legendary songwriter who signed Fagan to management in 1964. “Scott was so much more. He was cut from a different cloth.”

‘South Atlantic Blues’ is the perfect soundtrack to this tale, an epic song cycle wrapped around an impassioned love story, driven by Fagan’s dense, allusive lyrics, and production by Elmer Jared Gordon (Pearls Before Swine) and rich arrangements by Horace Ott (Nina Simone, Sam Cooke, The Shirelles). The Earth Recordings reissue coincides with a resurgence in activity for Fagan, with a new album in the works – the never-recorded soundtrack to ‘Soon’, the 1971 Broadway rock musical he co-wrote and starred in – and a documentary ‘Soon: the Story of Scott Fagan’ currently filming through Scissor Kick Films, from director Marah Strauch, writer Chris Campion (who rediscovered the singer-songwriter in 2015), and producer Eric Bruggeman.

TRACK LISTING

A1. In My Head
A2. Nickels And Dimes
A3. Crying
A4. The Carnival Is Ended
A5. South Atlantic Blues
B1. Nothing But Love
B2. Tenement Hall
B3. In Your Hands
B4. Crystal Ball
B5. Madam-moiselle

Maria is a trio from Holland and the Czech Republic, who have been producing their own unique post-religious cabaret since 2016. Lyckle, Katerina and Bjorn have amassed seven albums of outsider pop and improvised mayhem over the years. This collection of tracks were mostly made on a farm over a two year period and you can tell the fresh air had a conducive effect on their collective songwriting. A classic sound of drum machines, synth bass, and keyboards holds up Katerina and Lyckle’s vocal interplay alongside Bjorn’s guitars. When the three find their sweet spot, they can conjure up fine slices of whimsical, bleary-eyed pop music that isn’t afraid to smile once in a while and dream big.

STAFF COMMENTS

Barry says: Woozy electronica, shimmering guitars and swooning reverbed vocals, brittle melodies and chaotic lo-fi punk, in fact I could probably put at least one of the songs on Maria's brilliant and baffling Best Of in every genre in the shop. Superb, off-piste electronic indie business all round.

TRACK LISTING

Ghost In White Clothes Demo
Nine Nine Nine
Dream Of Bad Mood
Single Guy Dishwasher Song
Intermezzo
Small Question
Problem We Share
Spirit Of Money
Skyscraper
House Royal In Den Haag
Ghost In White Clothes
Memories In Cells
Humanity
No Need To Go There
Monday To Friday
Church Of Maria
Time To Get Smaller Quickly
Calling
Vampire

South Street are back with another essential reissue, This time with two heavyweights of the Chicago house scene.
In 2015, Soulful house royalty Stacy Kidd joined forces with Peven Everett to release a limited run of this dance floor anthem “Body Jerkin”, and now that these now hard to find records are fetching over £100 it’s time that a remastered, reissue were made available in stores again, and South Street keep growing their label with more essential hits like this.

This reissue features 3 essential versions of the hit "Body Jerkin'". The original mix sits on the A side, with a bass and drum groove being joined with strings, a nod to a classic disco hit and Peven’s vocals completing this soulful house groove, the classic spin that has been heard worldwide on dancefloors since it's original issue. The B side features one first time on vinyl mix, the Chicago Mix and then a never before released Disco Mix. The Chicago mix, a smooth and bubbly deep and funky groove and the Disco mix a raw and energetic rework to round off this trio of wicked house cuts. Cut Loud and Proud with a South Street company sleeve. Don't Miss!

TRACK LISTING

A1. Original Mix
B1. Chicago Mix
B2. Disco Mix

Korean artist and musician Jin Won Lee (이진원), otherwise known as Gazaebal, began his career in New York. Working as a sound engineer, alongside such illustrious artists as the Wu-Tang Clan and Janet Jackson, led him to develop a keen ear for dexterous audio design, melodic flair and catchy rhythm. But his true interest lay in uncovering the unique textures and synthetic qualities of electronic music. From the late 1990s to the early 2000s, Gazaebal focused on developing himself as a producer, synergising a uniquely potent take on club music, releasing three albums and appearing on numerous collaborations.

An established figure in the realm of contemporary art, Jin Won Lee is well-known for his hybrid, highly technological practice. In 2008, together with Jang Jaeho, he formed The Tacit Group, a collective for computer-coded art. Presenting works that manipulate audio and visuals in real-time through programming, the group has performed at the FAMS Choice selection, Lincoln Center in New York, at the Seoul branch of the Museum of Contemporary Art and the Sejong Center for the Performing Arts, among many others. As a solo practitioner, he initiated in 2023, a project that examines sound as abstracted vibration. brings together Jin Won Lee’s decades long investigations into sonic experimentation and the physicality of noise.

Outside the avant-garde, Gazaebal has enjoyed mainstream success, collaborating with Big Hit Productions founder and BTS songwriter Mr. "Hitman" Bang on remixes and arrangements for K-POP albums. They also formed the two-man group Banana Girl, with Gazaebal focusing on composition while Bang handled vocals, achieving a big hit with their 2000s track ‘Butt.’

Another crucial figure in Gazaebal’s life is his wife Nine who operates as his agent and business partner. Initially released in 1999 on Nine’s independent imprint dmstrax, the titular track ‘Talk’ first appeared on techno@kr, a compilation CD of Korean electronica. Together, they co-founded G Records, which was partly absorbed into Bighit Entertainment in 2005. Appearing as the inaugural record on Bighit, the original version of 'And So On' – featuring Bang’s vocal production – was not available for re-release due to licensing difficulties. But thankfully the multitrack was well preserved. Utilising these components, Nawon Ha (AKA Korean-but-Amsterdam-based artist Naone) re-imagines the song for Betonska Records.

A combination of un- and self-released material, Talk is an album that firmly belongs to the millennium while sounding utterly outside of space and time. A cosmic trance trip that draws on rock’s steely drive, wiggy acid basslines and warbling dub, the record is presented as a mix-friendly mini-album, with the 6 tracks ideally tailored to DJ-level quality and loudness. As much suited to the psychedelic rave scene of yesteryear as they are to present-day dancefloors, Gazaebal’s productions are defined by his idiosyncrasies. Melding the sheen of tight production and pop sensibilities with a flagrant DIY spirit, his music assuages the high-commercialism of the 2000s, resulting in a style that’s as definitely punchy as it is precise.

TRACK LISTING

Another One
Spiral
Square
Talk
Gilda
And So On (Naone So Forth Remix)

Seriously sought after, classic rare groove 2 stepper from Maxi, ‘Lover To Lover’ gets its first ever official reissue on vinyl with this also being the first 7 inch pressing of this oasis of joy, courtesy of South Street Soul.

Previously only ever available on Maxi’s self-titled 1977 LP, released on Blue Note. With originals of the album selling for over £160+, South Street give these glorious grooves space to breathe with a 7 inch reissue of two choice cuts. Soaring vocals, top drawer production, sumptuous instrumentation, with a string section to melt any heart out there – all arranged to perfection. The sort of track that will sweep you off your feet before you even know what’s hit you. Famously sampled by Tom & Jerry aka 4 Hero for their ridiculously rare Jungle anthem ‘Maximum Style’.

To complete the package, another hand-picked hit from Maxi’s one and only LP with a cover of the Van McCoy penned soulful serenity ‘Walk Softly’.

TRACK LISTING

A1. Lover To Lover
B1. Walk Softly

Hailed as "gospel titans" by Rolling Stone, the Blind Boys of Alabama defied the considerable odds stacked against them in the segregated South, working their way up from singing for pocket change to performing for three different presidents over the course of an 80-year career that saw them break down racial barriers, soundtrack the Civil Rights movement, and help redefine modern gospel music forever.

The five-time Grammy-winners’ latest album, Echoes Of The South, draws its name from the Birmingham radio program that hosted the group’s very first professional performance back in

1944. Pairing traditional spirituals and long-lost gospel classics with vintage soul and R&B tunes, the collection is as moving as it is timeless, transcending genre and era to touch something deep and fundamental about the human condition.

These are songs of love and friendship, joy and gratitude, faith and perseverance. Uplifting as they are, the recordings can feel bittersweet at times, too: 91-year-old Jimmy Carter retired from performing following the sessions, while two longtime members, Paul Beasley and Benjamin Moore, Jr., have since passed away. Despite the losses, the Blind Boys of Alabama show no signs of slowing down.

“The spirit of the Blind Boys isn’t about what you can’t do it’s about what you can do,” says singer Ricky McKinnie. “As long as we stay true to that, as long as we sing songs that touch the heart, this group will live on forever.”

TRACK LISTING

1 Send It On Down
2 Work Until My Days Are Done
3. Friendship
4. You Can’t Hurry God
5. Jesus You've Been Good To Me
6. The Last Time
7. Keep On Pushing
8. Paul’s Prayer
9. Wide River To Cross
10. Nothing But Love
11. Heaven Help Us All

Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.

Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.

Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.

On the B side, a Roy Ayer’s masterpiece given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.

TRACK LISTING

A1. Daylight
B1. Everybody Loves The Sunshine

Marvin Gaye at his very best! Two classics from Gaye’s esteemed catalogue, ‘I Wanna Be Where You Are’ and ‘I Want You’ with alternative mixes that have never been on 12 inch before. Plucked from the Deluxe Edition of the spellbinding ‘I Want You’ album that was mixed Kevin Reeves & remastered by Ellen Fitton, these two cuts have always called out for loud and proud pressing on either side of a 12.

Up first, ‘I Wanna Be Where You Are’ written by the magical pairing of Leon Ware and Arthur 'T-Boy' Ross with Ware also behind the production controls. An abbreviated cover of Michael Jackson’s hit, it sees Gaye take a brief respite from his usual steamy and sensual swooning to express his love for his family. Jackson would then return the favour, taking influence from Marvin’s 1977 hit ‘Got to Give it Up’ to make ‘Don’t Stop ‘Til You Get Enough’.

Originally a 1:17 minute segue on the album, the Unedited version clocks in at over 6 minutes, turning it from a transitionary passage to a standalone gem. Extending those delectable grooves, building and breaking with a sun-kissed, funk channelling feeling that washes over like a warm wave. With the 7 inch release trading hands for over £75 on Discogs this ain’t one to miss.

On the flip, ‘I Want You’ written by the same duo as the A, with Leon Ware once again on the production and released as part of the same ’76 album. It was an LP that introduced a change in musical styles for Gaye, songs such as this giving him a disco audience thanks to Leon Ware. The Jam-Alternate version leaves Gaye’s vocals till the final section, letting that sweet soaring soundtrack sing to its absolute emotive peak. Sunrise or sunset, this one is not to be used lightly - tears of joy on the dancefloor guaranteed.

TRACK LISTING

A1. I Wanna Be Where You Are (Unedited Mix)
B1. I Want You (Jam - Alternate Mix)

Comes in a sleeve that is recreated to be as close as possible to the original 1984 release on Rough Trade. Housed in an outer plastic jacket We Hate You South African Bastards! was the second album by the Irish band Microdisney (Cathal Coughlan and Sean O'Hagan), originally released by Rough Trade in 1984. The album consists of their early recordings before they moved from Cork to London, including songs that became favorites of Radio 1 DJ John Peel. The cover art was designed by the Welsh musician and artist Jon Langford, a founding member of The Mekons and The Three Johns.

TRACK LISTING

1. Helicopter Of The Holy Ghost
2. Michael Murphy
3. Love Your Enemies
4. Fiction Land
5. Pink Skinned Man
6. Patrick Moore Says You Can’t Sleep Here
7. Hello Rascals
8. Pretoria Quickstep

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electrofied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir, not least informing Derrick May’s infamous bootleg ‘Simply Just A Vantage’.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

STAFF COMMENTS

Matt says: Two ridiculously strong remixes of this proto-dance anthem (as sampled by Derrick may!). Late Nite Tuff Guy has a smooth, rippling effect running through it, late night deepness that wouldn't sound outta place at Fabric! Meanwhile, Farley Funk's oft-overlooked but absolutely killer mix is remastered and included for our delight. Astonishing that this is from '87 - it still sounds fresh to this day.

TRACK LISTING

A1. I Want It To Be Real (Late Nite Tuff Guy Edit)
B1. I Want It To Be Real (Farley Hot House Piano Mix)

Since oozing onto the scene, Mildlife’s mellifluous mix of jazz, krautrock and demon grooves has fast become a word of mouth sensation among open-minded DJs and diggers searching for the perfect beat. Their emergence was fortified by European tours, demonstrating a riotously looselimbed performance approach that was every bit as thrilling as their album’s tantalizing promise. By the end of their breakout year, they’d been nominees for Best Album at the Worldwide FM Awards (Worldwide’s Gilles Peterson was a notable champion), won Best Electronic Act at The Music Victoria Awards back home in Melbourne, and were officially anointed by DJ Harvey who included ‘The Magnificent Moon’ on his Pikes compilation Mercury Rising Vol II.

2020’s follow-up album Automatic saw the band elevate with more disciplined, directional and arguably more danceable synergy. With tightly structured arrangements making way for melodic improvisation and ethereal vocals, Mildlife effortlessly glid between live performance and studio songwriting like Kraftwerk and Herbie Hancock quarantined in Bob Moog’s Trumansburg workshop. Debuting Top 10 on the Australian charts, Automatic snared a converted ARIA Award for Best Jazz Album.

In early 2021, unable to play shows due to the pandemic, Mildlife travelled by boat to a long abandoned 19th century island fort to perform for fairy penguins and abalone poachers. The result is Live from South Channel Island, a 70 minute motion picture and live album where the band masterfully recreate the magic of their live shows, framed by the gorgeous Port Phillip Bay.

STAFF COMMENTS

Barry says: It's really hard to ignore the similarities here to Pink Floyd's 'Live In Pompeii' (looking at the comments on bandcamp too, it's not just me), but Mildlife's brand of hazy psychedelic jazz veers away from Pink Floyd as much as it veers towards. Laid-back grooves and saturated, swooning synths all brought together with those syrupy vocals. Stupidly brilliant, visually and audibly.

TRACK LISTING

A
1 Rare Air (Live From South Channel Island)
2 Vapour (Live From South Channel Island)
B
1 Im Blau (Live From South Channel Island)
2 Citations (Live From South Channel Island)
C
1 The Magnificent Moon (Live From South Channel Island)
2 Zwango Zop (Live From South Channel Island)
D
1 Automatic (Live From South Channel Island)
2 Air (Live From South Channel Island)

Max Dean and Prunk come together in superb fashion for a new EP on South. It features three new cuts from Max, with a Prunk remix making it another explosive package.

Up first is "Loving Saturday", a driving house track with a nagging, soulful vocal that really tugs at the heart strings. The bass is warm and the drums kick hard, but this one really has some standout emotion to it. "This Party" is a more loose, fluid, ducking and diving groove, with rich percussion making it a perfect late night groove. More deft vocals add some human emotion as this one drives on.

"This Party (Prunk Remix)" is a nice spaced out deep house cut that has real bite. The kicks and hi-hats fuse together perfectly, while balmy pads encircle the groove to bring the vibes. Last of all, "Sunshine Upon the 33" is another big hearted out track with an irresistible groove. The dynamic drums never let up, while the spaced out pads work and great vocal samples all elevate the track.

This is a fantastic four track package from this new one to watch label.

STAFF COMMENTS

Matt says: Tech house has a dirty name these days but red light rollers like this suck me back into the scene! Max Dean with that kinetic energy its hard to ignore. Make sure you stretch your shoulders!

TRACK LISTING

A1. Loving Saturday
A2. This Party
B1. Sunshine Upon The 33
B2. This Party (Prunk Remix)

In its original form 'Bij Annie Op Bezoek' was a pretty avant affair involving dubby desk experiments spilling into snippets of folk and spoken word. Here South Of North enlist a trio of full time experimentalists to turn everyone's brains upside down. First up, Robert Bergman, whose released on LIES and BAKK were previous Piccadilly faves recasts TV Orangje as a twisted industrial chugger - slow, low and dripping with high grade narcotics. Next up, Planet Rescue alum Peter Graf York goes IN on his "Voor etc" remix, turning out a leftfield techno wonk machine, which he reprises on the B2 in utterly spangled techno fashion. The B1 belongs to Monty DJ who hooks us up with a rattling, polyrhythmic excursion into woodland house - it's up there with the best early Sueds!

TRACK LISTING

A1. TV Oranje (Robert Bergman Mix)
A2. Voor Een Flat In De Merenwijk (Peter Graf York Mix)
B1. Trappenhuis (Monty DJ Mix)
B2. Voor Een Flat In De Merenwijk (Peter Graf York Pakje Sap Mix)

German multi-instrumentalist and production whizz CV Vision drops a third release in quick succession, once again furnishing South Of North with some superior psychedelic sounds. Where 'Tropical' pushed a futuristic psych exotic style, this one's as classic as they come, vocals fuzzed to fuck and slathered in tape delay, americana guitars and fat drum breaks. If you dig on the old Tame Impala sound or the likes of the Allah Lahs, you'll find plenty to love about this one.

TRACK LISTING

A1. Should I Tame My Endless Mind
A2. I Will Be Gone
A3. A Sparrow
A4. My Autumn Has Come
B1. 123
B2. Emit Ni
B3. In Time

"It’s a bit of a ‘lost tapes’ album," says the group’s vocalist and bassist, Joel Cadbury of From Here On Out. "We’ve uncovered these archives. Everything’s on cassettes or defunct products. We had to find a good tape deck that didn’t wobble too much and digitize everything. That was a long process. And then someone would find another bag of cassettes. I must have listened to 40 hours’ worth. But I knew that I had better go through everything because if I don’t, it will come back and I’ll have to do it again. It unearthed some really cool stuff".

TRACK LISTING

1.Save Your Sorrow
2.Remind Me
3.Here On Out
4.Wasted Reminders
5.Breaking Away
6.Mad Day
7.Instrumental A 99
8.I Know What You're Like (Demo)
9.Run On Time (Demo)
10.Southern Climbs (Chiswick Reach)
11.Time To Riot (DIV)
12.Separate Meaning
13.Breaking Free
14.I'd Be Lying
15.Better Things (Demo)
16.Coming Of Age

South announce the 20th anniversary re-cut of the cult-classic debut album ‘From Here On In’. They called themselves South as a statement; an act of bravado. Come and have a go if you think you're hard enough. Manchester bands had dominated for two decades, be it the Smiths, New Order, the Stone Roses, the Happy Mondays, and of course Oasis. Now it was the turn of three lads from North London. Move over Madchester. Although commercial success eluded them in the UK, South soared abroad - notably in the US, Germany and Japan. They toured the world with Elbow - one night South would top the bill, the next night it would be Elbow's turn. Guy Garvey would always dedicate a song to them from the stage "because they're real". In the US, their prominence was partly due to the fact that they composed the soundtrack to the smash gangster movie Sexy Beast, and that their biggest single Paint The Silence featured on the teen drama TV series The OC. When South split up in 2008 – four albums and a decade down the line - they had a back catalogue to be proud of.

And twenty years on from its release, their debut album From Here On In sounds as fresh as the day it was first pressed in 2001. Despite the swagger in their name, South couldn't have been less laddish or pugilistic. All three were quietly spoken, thoughtful, serious minded. They originally saw themselves as an electronic act, before morphing into a crusty-haired grunge band. They got a regular spot at the St Moritz Club on the legendary Wardour Street in 1998 and evolved again - less thrashing, more acoustic, tingling guitars, and sublime harmonies. Within weeks of starting at the St Moritz they had signed a publishing deal with Warner Chappell, before James Lavelle signed them to Mo'Wax.

For all that South eschewed the North, they would have been perfectly at home in Manchester. You can hear the influences of the great Manchester bands on From Here On In - the tender Gallagheresque ballad Keep Close; the gorgeous Paint the Silence nodding to the Stone Roses. Yet at the same time they brought so much extra to the party - dance beats in thumping rock rock songs; acoustic ballads that blaze ferociously. The reviews were sensational, particularly in America. "The tempos were stately. the lyrics suitably doleful and warmhearted," said the New York Times. The Chicago Tribune eulogised about "the dreamy atmospheric mix of pensive acoustic songcraft and electronic soundscaping."

Meanwhile Billboard said: "Every now and then a band comes along that prides itself on not fully ascribing to any one musical philosophy. Welcome to the world of north London's South." From Here On In was the perfect post-modern album - ballads to rave to, dance tracks to mourn to, pop rock, electro-rock, folk-rock, instrumental rock, prog rock, and even occasionally rock rock. In many ways the album was decades ahead of itself. Perhaps its time has come now.

TRACK LISTING

1.Broken Head (I)
2.Paint The Silence
3.Keep Close
4.I Know What You're Like
5.All In For Nothing (Reprise)
6.Here On In
7.Run On Time
8.Broken Head (II)
9.Sight Of Me
10.By The Time You Catch Your Heart
11.Live Between The Lines (Back Again)
12.Recovered Now
13.Southern Climbs
14.By The Time You Catch Your Heart (Reprise)
15.All In For Nothing
16.Broken Head (III)

Compilers Miles Cleret (Soundway) and DJ Okapi (Afrosynth Records) present a selection of 18 rare, handpicked 1980s cuts that highlight the period that nestles in between the ‘70s (where American-influenced jazz, funk and soul bumped shoulders with local Mbaqanga) and the ‘90s when Kwaito and eventually house-music ruled the dancefloors of urban South Africa.
In 1980s black South Africa a local form of pop music evolved as the disco boom died down and slowly mutated. It was often ubiquitously described as Bubblegum - usually stripped-down and lo-fi with a predominance of synths, keyboards and drum-machines and overlaid with the kind of deeply soulful trademark vocals and harmonies that South African music is famous for. Alongside French-Caribbean Zouk this kind of music has slowly been making its way into the DJ sets of many of the most open minded selectors around the world. This compilation is in many ways a sister release to the hugely popular compilation of Nigerian boogie and disco that Soundway released in late 2016 : “Doing it In Lagos: Boogie, Pop & Disco in 1980s Nigeria”.
The album takes its name from the band Ashiko’s track of the same name Gumba Fire that features on the compilation. The term is derived from gumba gumba, the term given to the booming speakers of the old spacegram radios that broadcast music into South Africa’s townships and villages. The phrase later evolved into Gumba Fire to refer to a hot party. Put this record on and feel the heat!

STAFF COMMENTS

Patrick says: As we seem to have reached the end of the great Afro disco excavation (I joke, I hear a new banger every two weeks), things jump forward from the disco era to the time of boogie and proto house with this mega collection of bubble gum bangers selected by Soundway and Afrosynth boss DJ Okapi. Everything on here is excellent, but Condry Ziqubu's "She's Impossible" is way in demand, and this is your only chance to get it without breaking the bank.

TRACK LISTING

LP 1:
The Survivals - My Brother
Stimela - Mind Games
Hot Soul Singers - Hlala Nami
Zoom - Wayawaya
Ashiko - Gumba Fire (Madlakadlaka) 
Monwa & Sun - Heartbeat

LP 2:
Ntombi Ndaba - Do You Trust Amajita?
The Black Five - Selallane 
Starlight - Picnicing
Zasha - Hayi Ngodlame
Joshiba - Gloria
Sabela - Africa

LP 3:
Condry Ziqubu - She’s Impossible /
General Peter Maringa - Listen To Me
Zasha - Arrow Dub
Ozila - Wola Wola

CD:
The Survivals - My Brother
Stimela - Mind Games
Hot Soul Singers - Hlala Nami
Zoom - Wayawaya
Ashiko - Gumba Fire (Madlakadlaka) 
Monwa & Sun - Heartbeat
Ntombi Ndaba - Do You Trust Amajita? 
The Black Five - Selallane
Starlight - Picnicing 
Zasha - Hayi Ngodlame
Sabela - Africa
Condry Ziqubu - She’s Impossible
General Peter Maringa - Listen To Me 
Zasha - Arrow Dub
Ozila - Wola Wola

Record Shack delivering some stone-cold classics from South Side we have the immense single “I Feel A Groove Comin’ On” which is packed with jammin’ grooves that can uplift any dreary day with powerful soul beats. On the B Side Combo King’s “Groovey” does exactly what it says on the tin, wild soaring notes of soul-jazzy goodness fill the air. This is a record you need to have for any event to get mood lifted and dancing the night away!

TRACK LISTING

A1. South Side - I Feel A Groove Comin' On
B1. Combo King - Groovey

Saskatchewan is how it sounds: A province in the prairies of Canada. Double the size of Germany, but with less than one million residents. Lots of nature, and lots of silence. Perhaps lots of time to fill the silence with natural sounds, too. This is where the quartet The Dead South comes from, and fits perfectly within this description. The debut album "Good Company" revealed the four hatted, hairy and bearded fellas, with singer Nate Hilts as a focal point. The album is a perfect fit to the genres Folk, Neo-Folk and Bluegrass-Folk or even alternative Country with refreshing tunes to it.

With impact, humor and a kind of bold manner of putting words into sound. The instrumentation stays knowingly pure: guitars, cello, banjo, kick drum, mandolin - building the acoustic fundamentals for full lead vocals and harmonies. The first album really was a promise that is now fulfilled with the new release titled "Illusion & Doubt". No doubt the four piece from the prairies has matured. Harmony changes as well as excellent and virtuosic instrumental parts have been added to their incredible energetic, passionate and sometimes surprisingly catchy melodies. But Hilts and company are far from being tame: "We are definitely closer to the Pogues than to Alison Krauss. Unfortunately, we do not possess much of the delicate elegance so we try and bring more energy and entertainment to our side. You could say we are a mix of Nu-folk with a few different styles mixed in between. We tend to add elements of classical, punk, rock, alternative, bluegrass, folk and everything in between." What is sometimes hard to describe, is often better to simply listened to.

The opener 'Boots', starts like a grizzly on ecstasy. After a short quiet prelude, the boots really start to want to dance. Lighted by banjo and guitar and grounded by a stoic cello, Hilts tells a more free-spirited love story: rough, sincere and honest. With the following track 'Every Man Needs a Chew' - the first song the band has ever written - they speed up with the impulsive tact, a squeaky fiddle and some Gypsy Swing components. There is proof of a second great lead singer from Scott Pringle in 'Dead Man's Isle', - a drinking song with a great chorus and bizarre lyrics - a drunken guy expects his dog who is obviously sober to give him a ride home. If that doesn't remind you of The Pogues, then maybe "One-Armed Man', another tipsy party hymn, will. They really feel good in an up-tempo environment, but they can do slower and subtle as well, as you can hear with 'The Good Lord': "This our version of a classic country tune. It is about a husband and wife separated by war. The wife waits pregnant at home wondering if the child will ever meet his father, while the father at war wonders the same thing," says Hilts to this harmonically accommodating, but lyrically vexing song. That's how they like it, and another good example is 'Miss Mary': "The album's title is taken from a line in this song. In classic Dead South fashion, a woman takes too many pills and murders her husband, before she comes to and realizes what she's done" describes Hilts, as their type of humor. The same darkness can be found in the Western-Style of 'Massacre Of El Kuroke' and the gloriously nostalgic 8 minute "Spaghetti Western Ballad", 'Gunslinger's Glory'.

The pet project of Texas based programmer John Mark Lapham, - of The Earlies and 4AD band The Late Cord fame - Old Fire joins a world-class roster that includes the likes of Steven Wilson, The Pineapple Thief, Anathema, Nordic Giants and The Anchoress. Taking nearly a decade to make, Songs From The Haunted South has been a labour of love for Lapham.

Born from an album concept for a 4AD project with singer Micah P. Hinson (The Late Cord), the album was originally intended to feature different singers and musicians recording songs that were both covers and originals. After parting ways with Micah, Lapham remained determined to realize his vision for the album and sought voices he considered special or fitted the inspiration.

The first piece of the puzzle fell in to place after meeting the former owner of 4AD, Ivo Watts Russell, who introduced Lapham to singer/songwriter, Tom Rapp - who recorded a string of haunting albums in the late 60s and 70s under the name Pearls Before Swine. The vocals Rapp provided formed the basis of the track Shadows. In the following years, guest vocals were recorded by Sara Lowes (The Earlies), DM Stith, Christopher Barnes (Gem Club), Rebekka Karijord, and Alex Maas (Black Angels).

The project also features a myriad of exceptional musicians including Warren Defever (His Name Is Alive) - Guitar, Thor Harris (Swans) - Drums, Christian Madden - Rhodes piano & Organ and Semay Wu (Cello).

The 13 track album contains a selection of songs that in one way or another are dedications to people, some dead and some still living. Musically, inspirations range from ambient artists such as Brian Eno and Stars of the Lid to Psychedelic Rock, traditional Country and early 4AD.

Sitting alongside the original Old Fire compositions are a selection of intriguing cover versions. Lapham uniquely interprets songs by Psychic TV (The Orchids), Low (Laser Beam), Ian William Craig (A Sight Grip, A Gentle Hold), Jason Molina (It's Easier Now), Camberwell Now (Know How) and Shearwater (Helix).

Songs From The Haunted South' was produced by John Mark Lapham, mixed by JM Lapham and Mark Kuykendall, and was mastered by Ian Hawgood.

The powerful cover art was designed by UK's Grammy Award winning designer Vaughan Oliver, famed for his work with artists such as Mojave 3, Lush, Cocteau Twins, Dead Can Dance, The Breeders, This Mortal Coil, Pixies, Throwing Muses in addition to artists such as David Sylvian and Bush. The cover shot taken in 1958 features Lapham's father during bivouac camping basic training in the foothills of the Ozarks, at Fort Chaffee.

STAFF COMMENTS

Barry says:

TRACK LISTING

Old Fire 3
Along Came A Sadness
Helix
Know How
It's Easier Now
A Stranger In The Family
Bloodchild
Faust
Shadows
A Slight Grip, A Gentle Hold
Laser Beam
The Orchids
Deadhouse Dream

Scott Fagan’s debut album, ‘South Atlantic Blues,’ is a genuine lost classic - a mystical, mythical and deeply soulful masterpiece.

Recorded when Scott was just 21, virtually homeless and with pennies to his name, it was released in 1968 on Atco Records but remained obscure, confounded by a series of frustrating near-misses. From being mentored by Doc Pomus to being discovered by Jasper Johns, Scott’s incredible story and music unfolds on ‘South Atlantic Blues,’ remastered and reissued for the first time ever on CD and vinyl on Saint Cecilia Knows (the label that also released the acclaimed Mickey Newbury box set, ‘An American Trilogy) in association with Scott Fagan’s own lil’fish records.

Steeped in delicate psych, soul and resonant acoustic guitars “that stroke and stone you to the core” (Shindig). It’s an epic song cycle about Fagan’s hard-scrabble life in the Virgin Islands, where he was raised and lived until 19 before returning to his birthplace of New York City. A teenage prodigy, mentored and managed by songwriters Doc Pomus and Mort Shuman, Scott recorded early material for Columbia and Bert Berns’ BANG label before signing with Atco. In 1969, artist Jasper Johns discovered ‘South Atlantic Blues’ in a cut-out bin, fell in love with the record, and used it as the inspiration for three artworks, known as ‘Scott Fagan Record.’

The pieces are now housed in the permanent collections of MOMA, the Met and the Walker Art Center. Born on 52nd Street, Scott was the son of a sax player and singer who fraternized with jazz greats. That familial connection with music would come full circle when Fagan discovered he was the biological father of songwriter Stephin Merritt of the Magnetic Fields. They did not meet until the premiere of a documentary about Doc Pomus in 2013. A conversation between the two is included in the liner notes of this CD release. The initial pressing of the vinyl comes as a limited edition, hand-numbered, 180g vinyl with a reproduction of Jasper Johns’ 1970 lithograph, ‘Scott Fagan Record,’ as cover art, and includes a digital download.

The CD comes with extensive liner notes, rare photos, and a download of five bonus tracks—the original 1965 demo for Doc Pomus as well as a recently-discovered acetate, the only copy in existence of a previously-unknown Doc Pomus song, All For The Sake Of Love, that only Scott Fagan recorded. 

TRACK LISTING

1. In Your Head
2. Nickels And Dimes
3. Crying
4. The Carnival Is Ended
5. South Atlantic Blues
6. Nothing But Love
7. Tenement Hall
8. In Your Hands
9. Crystal Ball
10. Madame-Moiselle.

Bonus Tracks (download With CD Only) :
1. They Think She’s Crying Cause She’s Happy
2. When You’re Lonely And You’re Blue
3. Bonua
4. I’ve Been So Lonely For So Long
5. All For The Sake Of Love

What happens when a 78 collector marries a collector of antique photographs? Lead Kindly Light. Recordings of Rural Southern Music: Old Time, String Band Music from Appalachia, extremely rare Country Blues and African American gospel singing from 1924-1939.

159 Photographs from the Collection of Sarah Bryan reproduced in full color. 46 Audio Recordings from the 78RPM Record Collection of Peter Honig. 176-page hardcover book with 2 CDs. 8.5 inches x 6.5 inches. A portrait of the rural American South between the dawn of the twentieth century and World War II, Lead Kindly Light brings together two CDs of traditional music from early phonograph records and a fine hardcover book of never-before-published vernacular photography.

North Carolina collectors Peter Honig and Sarah Bryan have spent years combing backroads, from deep in the Appalachian mountains to the cotton and tobacco lowlands, in search of the evocative music and images of the pre-War South. The music of Lead Kindly Light presents outstanding lesser-known recordings by early stars of recorded country music, as well as rarely- and never-reissued treasures by obscure country, blues, and gospel artists. The photographs, mainly images of the rural and small-town South, are richly textured depictions of family life, work, and fun, and the often accidental beauty of the vernacular snapshot.

TRACK LISTING

DISC 1
1. Buster Carter And Preston Young – “I’ll Roll In My Sweet Baby’s Arms”
2. Georgia Yellow Hammers – “Mary Don’t You Weep”
3. Narmour & Smith – “Jake Leg Rag”
4. Prince Moore – “Church Bells”
5. Roane County Ramblers – “Callahan Rag”
6. Banjo Joe – “Engineer Joe”
7. Ernest Phipps And His Holiness Quartet – “I Want To Go Where Jesus Is”
8. Amos Baker – “I Wish I Were A Mole In The Ground”
9. Lewis Brothers – “When Summer Comes Again”
10. Dykes’ Magic City Trio – “Frankie”
11. Leake County Revelers – “Johnson Gal”
12. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt On Stump House Mountain, Part 1”
13. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt On Stump House Mountain, Part 2”
14. Mississippi Bracey– “Stered Gal”
15. Jilson Setters – “Little Boy Working On The Road”
16. Loveless Twins Quartet – “Lead Kindly Light”
17. Al Hopkins And His Buckle Busters – “Roll On The Ground”
18. J. E. Mainer’s Mountaineers – “Concord Rag”
19. Uncle Eck Dunford And Ernest Stoneman – “Barney McCoy”
20. Blue Ridge Highballers – “Round Town Girls”
21. Carter Family – “Motherless Children”
22. Rev. W. M. Mosley And His Congregation – “Labor For The Lord”
23. Home Folk Fiddlers – “Arkansas Hoedown”

Disc 2
1. Allen Brothers – “Skipping And Flying”
2. Fiddlin’ Sam Long Of The Ozarks – “Sandy Land”
3. Rev. J. C. Burnett – “True Friendship”
4. Narmour And Smith – “Tequila Hop Blues”
5. Orville Reed – “The Telephone Girl”
6. Burnett And Ruttledge – “Blackberry Blossoms”
7. Kid Williams And Bill Morgan – “When He Died He Got A Home In Hell”
8. Buster Carter And Preston Young – “It’s Hard To Love And Can’t Be Loved”
9. Carter Family – “Kitty Waltz”
10. Birmingham Entertainers – “Johnny Bring The Jug ‘Round The Hill”
11. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 1”
12. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 2”
13. Mainer’s Mountaineers – “Train Carry My Girl Back Home”
14. Miller’s Merrymakers – “Old Time Breakdown”
15. Riley Puckett – “Railroad Bill”
16. Leake County Revelers – “Been To The East, Been To The West”
17. Charlie Bowman And His Brothers – “Gonna Raise The Ruckus Tonight” 18. Charlie Parker And Mack Woolbright – “Man Who Wrote The Home Sweet Home Never Was A Married Man”
19. Dykes’ Magic City Trio – “Cotton Eyed Joe”
20. Joe Smith – “Kidnapping Is A Terrible Crime”
21. Rev. W. M. Mosley – “The Comforter Has Come”
22. Roane County Ramblers – “Johnson City Rag”
23. Jilson Setters – “Way Up On Clinch Mountain”

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

For the lowriders, the souleros, or just anyone with a still-working CD player in their hooptie and a penchant for driving with even a slight gangster lean. Numero pays tribute to the aftermarket sounds of “sweet” soul music still emanating from the West coast, or East Side, depending on your perspective. Inspired by, and paying tribute to the countless cruising compilations, legitimate and (mostly) otherwise, that provide the soundtrack for lowrider and soulero culture, South Side Story is the latest in the Numbero line of takes its aesthetics from the timeless East Side Story series, and its music from Chicago soul groups (mostly, of course, from our mythic South Side). Included here are songs that are completely unreleased, others that are never before issued other than in minuscule pressings on 45, and a few chrome-coated classics, already seen on scads of flash-in-the-pan boots. The Numero Group’s crack team of researchers cut loose on the city of Chicago to assemble the perfect lowriding companion, and the results are unparalleled. From high school rivals The Si-Berians and The Intentions, who both feature their sole recordings here, to unheard material from the original Calvin Harris, to the elite Latino ensemble known as The Mystics, to the missing link in “sweet-as-sugar” Renaldo Domino’s lonely post-Twinight recording, this dazzling collection slices out a delectable cross-section of the city’s sweetest sounds. 13 perfect “souldies” as they are occasionally called, allowing you to throw away any of your many volumes of Gangster Soul Harmony, Lost Soul Oldies, East Side Story, Hood Dreams, Shady Side of Town (or any of the thousands of other similar iterations)

TRACK LISTING

1. The Si-Berians - This Is The Ending Of Our Love
2. The Mystics - That’s The Kind Of Love
3. Renaldo Domino - I’ll Get You Back
4. The Notations - I’m Still Here
5. Harlem Meat Company - I’m Not Gonna Be Anybody’s Fool
6. Calvin Harris - It Ain’t Fair
7. The Notations - I Don’t Wanna Be Late
8. Brand New Faces - I Don’t Wanna Cry
9. The New Day - Wait A Minute
10. The Final Solution - Gotta Get Through To You (CD Only Bonus Track)
11. Young Souls - Puppet On A String
12. Donnell Pitmann - You Hurt Me
13. The Intentions - Blowing With The Wind

The angry female fronted Vancouver punks release new seven inch single 'Songs of the South' - comprised of 'Blow It South' and 'Down With You'.

After being credited as having one of the best live shows of SXSW earlier this year and their 2012 full length 'Sorry' receiving critical acclaim from the likes of Pitchfork, Stereogum, Noisey, Spin and Rolling Stone White Lung look set to become a successful crossover band – following in the steps of Fucked Up & The Men

TRACK LISTING

1. Blow It South
2. Down With You

John recently supported Paul Heaton and Richard Hawley and opens Alan McGee’s new 359 club night in Liverpool on 6th September. He will support The Enemy and Reverend & The Makers at the Doncaster Dome on 6th November, as well as playing shows with Alabama 3.• North South Divide is supported by a full press, radio and online marketing campaign.

This debut album will be preceded by the release of ‘North South Divide’ – the single – as both a download and limited 7” single in late September.

Clearly indebted to early Dylan, John’s influences also include Donovan, Paul Weller, Marc Bolan, Johnny Cash and Jake Bugg.

“An amazing talent for such a young kid!” Alan McGee

“Who is this kid doing Dylan better than Dylan?” Courtney Love

“John is a real talent, I'd happily take him on tour with me in the future. The real deal." Richard Hawley

TRACK LISTING

1. 55 Blues
2. North-South Divide
3. Long Long Way
4. The Ballad Of A Blue Poet
5. It Never Rains
6. Rivers Of Blood
7. The Ballad Of Mr Henderson
8. Colour Of The Sun
9. Slipping Away
10. Short Sharp Shock
11. White Rose
12. The Strand

The product is a limited edition, deluxe package, designed by GiveUp Art. With only 500 editions printed and compromising 14 high quality photo-prints and a 12 track CD (9 of which are exclusive) – all of which will be beautifully enclosed in a special, custom made package. "North / South / East / West" is a collaborative art and music project between photographer Shaun Bloodworth, designer Stuart Hammersley (Give Up Art) and Bleep.com; focusing on the music of four different regions of the world - North and South UK and East and West coast USA. The project aims to showcase their pick of a handful of labels, artists and club nights from each

TRACK LISTING

1. Daedelus – A Bloodworth
2. Huson Mohawke – FUSE
3. Geeneus – Ultrafunkula
4. Flying Lotus – Comet Course (Matthew David Alternative Mix)
5. Headhunter – Collecting Butterflies
6. Falty DL – Some Day My Queen Will Come
7. Flying Lotus – Rickshaw
8. Skream – Slumfunk
9. Mike Slott – Giants Meet
10. Kotchy – You Know You
11. Rustie – Bad Science
12. Taz Buckfaster – Au Revoir

Compiled by Mark Ainley and Mark Ernestus (Basic Channel etc) "Shangaan Electro" delivers a selection of the breakneck Shangaan dance output of the Nozinja studio in Soweto, recorded between 2006 and 2009. Shangaan music is fast - we're talking 180bpm+ here - coming across like high life-meets-soca-meets-baile-funk-happy hardcore! When you hear those marimba beats, that live guitar and those toms, you know it’s Shangaan. The sound grew out of the Shangaan disco movement, a music that dominated in the 1980s with artists like Penny Penny and Peter Teanet and has slowly got faster and faster until we have Shangaan electro. There’s something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet ‘tradition’ to them can also be living, electronic and nuanced. If you enjoy the global beats of Africa Hitech or Poirier, or the simplicity and speed of baile funk from Brazil's favelas, then this is sure to be of interest.

TRACK LISTING

01. BBC - Ngunyuta Dance (The Shake-Your-Behind Dance)
02. Tshetsha Boys - Nwa Pfundla (Pfundla's Daughter)
03. Mancingelani - Vana Vasesi (My Sister's Children)
04. Zinja Hlungwani - Ntombi Ya Mugaza (Shangaan Woman)
05. BBC - Ngozi (Danger)
06. Zinja Hlungwani - Nwa Gezani (Gezani's Daughter)
07. Tiyiselani Vomaseve - Vanghoma
08. Nka Mwewe - Khulumani (Let's Talk)
09. Tiyiselani Vomaseve - Na Xaniseka (I'm Suffering)
10. Zinja Hlungwani - Nwa Gezani My Love (Gezani's Daughter, My Love)
11. Tshetsha Boys - Uya Kwihi Ka Rose (Rose, Where Are You Going?)
12. Zinja Hlungwani - Thula (So Quiet)

JD Crowe And The New South's latest album is from one of the most influential and pioneering bands in the history of bluegrass. This is a vibrant and eclectic selection of songs, with the band's trailblazing style well in evidence.

A collection of nine tracks, inspired by classic journeys and the ground breaking pioneers of land, sea and sky. For fans of Tortoise, Labradford etc.