After a 10-year hiatus, Balearic Mike and Kelvin Andrews return to continue the journey of the Balearic Beat with another edition of their distinguished Down To The Sea And Back compilation series, presenting a formidable new set of rare and obscure records.

With Vols. 1 and 2, the well loved duo showed us that not only are they serious collectors but chroniclers of a scene, assembling lost gems and unheard marvels into Balearic mythology. Reaping, along the way, accolades such as Piccadilly Records’ Compilation of the Year, and featured on Lauren Laverne’s BBC6 Music show. For Vol. Tres, Mike and Kelvin team up with Copenhagen-based Music For Dreams label – themselves no strangers to the Balearic archives. The compilation features 16 tracks, every selection accompanied by an essential background story in the liner notes of the gatefold vinyl and CD booklet.

As fellow comrade and beloved friend Luke Una puts it: “From Greek acid folk, Balearic bossa, outsider pop and electronic chug, to cosmic machine soul, majestic songs, odd numbers, proto-techno new wave to dubbed out 5am technoid, bass buggin deepness and ethereal outer-space Detroit via San Francisco. This album is a story. A story from the heart, with over three decades digging and grafting in the trenches. In a world of faux, pastiche, counterfeit and aggrorhythm fakes, it oozes a wholesome intuitive authenticity. Majestic songs, odd numbers, cosmic dreaming and late night astral travelling as we all hold on together.” 

TRACK LISTING

A1 Josete Ordonez - Objetos Perdidos (Dagobert Böhm Version)
A2 Robert Williams - I Believe You're The One
A3 Lee Ryda - Electro Eyes
A4 Francisco - Heal Yourself
B1 Vidderna - Villfarelser
B2 Meo - Cikuana
B3 The Emperor Machine - Dying By Wits (Original Mix)
B4 Tri Atma - Yummy Moon (Long Version)
B5 Pressure Drop - Unify /Rip Up (instrumental)
C1 Enzo Carella - Malamore
C2 Ad Vissar & Daniel Sahuleka - Giddyap A Gogo
C3 Le Couleur - Underage (Original Mix)
C4 Sunshine Jones - Fall In Love Not In Line (Extended Vocal Version)
D1 Car Crash Set - Fall From Grace
D2 Len - Steal My Sunshine (Version Idjut)
D3 Mcraft - She Sells Sanctuary

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.

The second of the three English Beat/ Beat albums expanded for RSD with a 2nd LP of non-LP singles and remixes.

Keyboardist and composer Carl Moore originally wrote, recorded and pressed only 100 (!) copies of these tracks, grabbing a quick moment of studio time during a tour of Japan in the early 1980s. Moore’s purple patch saw him becoming peers with artists such as Phyllis Hyman, Jean Carn, Janet Jackson and ‘The King of Gospel’, James Cleveland.

Carter Lake is an energetic 2 minutes 30 second blast of pure dance floor joy, that looks back at carefree days, teenage love and love lost. Moore’s voice soars, and showcases his love for the powerful stylings of jazz and gospel. On the flip, Must Be The Beat sees him explore very different textures and could easily be a long lost Prince recording found in the vaults in Paisley Park. Sounding like something jammed late at night, this one is perfect for the afterhours when there are 30 sweaty dancers left on the floor at 5am that just don’t want to go home!

This is the first release on Sweet Free Association, a new label founded by Sam Don, the DJ and curator responsible for the recent lovers rock and UK soul comps For The Love of You and Just A Touch. Born out of the wish to find another way of sharing ‘the fruits’ from his Free Association radio show and parties, these impossibly rare disco tracks are now available to a wider audience for the first time, as the vast majority of the original copies have been long lost.

Mastered at The Carvery, the lo-fi recordings have been skilfully lifted by Frank Merritt to sound big in the club, while retaining the original charm in the sound that made the tracks stand out to Sam in the first instance.

TRACK LISTING

Carter Lake
Must Be The Beat

I Just Can't Stop It is the debut studio album by British ska band the Beat, released on 23 May 1980 by Go-Feet Records in the United Kingdom. It was released the same year in the United States on Sire Records under the band name "The English Beat". In Australia, it was released on Go-Feet under the band name "The British Beat".

Well received from the start, publications such as Rolling Stone raved that the music was "wild and threatening, sexy and sharp." AllMusic later said it "was a stunning achievement", which has not been diminished by time.

TRACK LISTING

Side A
Mirror In The Bathroom
Hands Off...She's Mine
Two Swords
Twist And Crawl
Rough Rider
Click Click
Side B
Big Shot
Whine & Grine / Stand Down Margaret
Noise In This World
Can’t Get Used To Losing You
Best Friend
Jackpot

In the late 1980s, disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as The Beat. Although hip-hop, new wave, gothic, punk, and the burgeoning modern rock genre held considerable sway, the pre-rave clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed The Beat. This musical tapestry encompassed everything from hip-hop and freestyle to industrial, new wave, boogie, Miami bass, and techno - the unifying thread being the distinctive vibe that characterised this eclectic mix.

As house, techno, and taving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate - some recalling '92, while others leaning towards '93 - what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by the Beat, acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, "The Beat By Spun" is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

TRACK LISTING

A1. Tasti Box - San Francisco 
A2. Mattski - Live At The Brotherhood 
B1. Bass Kittens - Get A Grip (Mission St. Mix) 
B2. Housebound - Electro Rhythms 
C1. Hawke - 3 Moods In A Purple Garden (Robbie Hardkiss Mix) 
C2. Trailmix - Tequilla Sunset 
D1. Studio X - Los Kings Del Mambo 
D2. Deep2 - Sphere

In the late 1980s, disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as The Beat. Although hip-hop, new wave, gothic, punk, and the burgeoning modern rock genre held considerable sway, the pre-rave clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed The Beat. This musical tapestry encompassed everything from hip-hop and freestyle to industrial, new wave, boogie, Miami bass, and techno - the unifying thread being the distinctive vibe that characterised this eclectic mix.

As house, techno, and taving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate - some recalling '92, while others leaning towards '93 - what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by the Beat, acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

TRACK LISTING

A1. DJ EFX (Beta Test) - Star Trax
A2. Wechselspannung - 220V (Extract)
A3. Jupiter 6 - A8
B1. The Ultraviolet Catastrophe - The Trip (Trip Harder)
B2. Electroliners - Loose Caboose
C1. High Lonesome Soundsystem - Champion Sound
C2. Single Cell Orchestra - I Hear The DJ’s Here
C3. Jim Hopkins - C’mon Now
D1. Central Fire - Kamba (The Lost Mix)
D2. DJ Emma - The Duster (Fuck Off And Dance Mix) 

"Someone Stole My Wheels""Love's Gone Out of Fashion" "She Never Understood" "He Don't Need That Girl" "She Shivers Inside" "The Beat Hotel" "The Happiest Girl in the World" "If I Die" "Five Minutes in the Life of Greenwood Goulding" "The Whole World Is Turning Brouchard!" + "It Happens All The Time" "It Makes You Scared" "Sunny Days" "The Death of England"

TRACK LISTING

Someone Stole My Wheels
Love's Going Out Of Fashion
She Never Understood
He Don't Need That Girl
She Shivers Inside
The Happiest Girl In The World
If I Die
Five Minutes In The Life Of Greenwood Goulding
The Whole World Is Turning Brouchard!
It Happens All The Time
It Makes You Scared
Sunny Days
The Death Of England

In the late 1980s, disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as The Beat. Although hip-hop, new wave, gothic, punk, and the burgeoning modern rock genre held considerable sway, the pre-rave clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed The Beat. This musical tapestry encompassed everything from hip-hop and freestyle to industrial, new wave, boogie, Miami bass, and techno - the unifying thread being the distinctive vibe that characterised this eclectic mix.

As house, techno, and raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate - some recalling '92, while others leaning towards '93 - what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by the Beat, acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% sure shot that was played heavily by DJ Spun back in those very heady days.

STAFF COMMENTS

Matt says: Above Board shine a spotlight on this lesser celebrated but pivotal moment in the development of San Fran's underground dance culture.

TRACK LISTING

A1. Single Cell Orchestra - Transmit Liberation 
A2. D.J. Prince Ice - Freestyle 
B1. Trip Ta Funk - Ruby’s Flute (Fresh Mex Mix) 
B2. Triple M - Prisoner Of Passion (Funky Dub Mix) 
B3. MC 900 Ft. Jesus - Killer Inside Me (Meat Beat Manifestation #2) 
C1. Unkown Artist - B1 
C2. DJ Emma - Based (Not So Free Mix) 
D1. Seven - Ease (Seven.1 Mix) 
D2. E.T.I. & Graeme - Blue Dreamers (Edit) 
D3. Spins Inc. - The New Frontier (Club Mix) 

Debut LP from NYC Garage Rockers.
Produced by Nick Zinner from Yeah Yeah Yeahs!

Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene.

Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show.

One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

TRACK LISTING

01. Sweat
02. Out Of My Head
03. Concrete
04. I'm Not Your Baby
05. Not My Guy
06. Odr
07. When Are You Coming Home
08. Too Afraid
09. Let You Go
10. Don't Feel The Same

Manchester's legendary and long standing group The Mouse Outfit return with the tightest head-nodding beats, jazz influences, and smooth, stoner sonics to soundtrack the summer - this time with new talent and multi-instrumentalist One Only. With Metrodome joining in on production duties "Sunrise" is the feel-good, empowering summer anthem to raise spirits; whether your BBQ'ing in Alexandra Park, cruising the ring road on the way to a jam at Six Trees or dropping on your local soundsystem.

Flip it for a deep liquid DnB version by Shift Ops which perfectly marries that soul-elevating vocal with smoothing rollin' breaks and powerful subs. A ridiculous flip that makes total sense. Highly recommended!!

Produced by Chini + Metrodome
Guitar: Omar Sohawon
Bass: Alan Keary (Shunya)
Keys/Drums: Chini
Percussion: Emanuel J Burton
Mixed by Phil Kirby
Vinyl Master by Simone Squillario

STAFF COMMENTS

Matt says: Our favourite jazz-soul-hip-hop crew return with an absolute fire 7" in time for the summer. Gonna light up any gathering with this feel good slice of jazzy downbeat hip-hop. Raise energy levels with the tasty DnB tweak on the flip. A Manchester essential!

TRACK LISTING

A1 The Mouse Outfit - Sunrise
B1 The Mouse Outfit - Sunrise (Shift Ops Remix)

The first of a three-volume set of mind blowing LPs compiling the finest of the 60’s and 70’s output from the most legendary Argentinian label of all time: Music Hall. And what a start this is! An amazing selection of soon to be rediscovered hits ranging from pure garage madness to exotica, soul, instrumentals, 60’s beat or hard rock.

The first of a three-volume set of mind blowing LPs compiling the finest of the 60’s and 70’s output from the most legendary Argentinian label of all time: Music Hall. And what a start this is! An amazing selection of soon to be rediscovered hits ranging from pure garage madness to exotica, soul, instrumentals, 60’s beat or hard rock.

The first of a three-volume set of mind blowing LPs compiling the finest of the 60’s and 70’s output from the most legendary Argentinian label of all time: Music Hall. And what a start this is! An amazing selection of soon to be rediscovered hits ranging from pure garage madness to exotica, soul, instrumentals, 60’s beat or hard rock.

Pulling together the lion’s share of Beat Happening’s non-LP material not covered by the expanded edition of the debut album, Music To Climb The Apple Tree By collects tracks from the band’s singles and compilation contributions along with their share of the Beat Happening/Screaming Trees EP. Essential ephemera.

TRACK LISTING

1. Angel Gone
2. Nancy Sin
3. Sea Hunt
4. Look Around
5. Not A Care In The World
6. Dreamy
7. That Girl
8. Secret Picnic Spot
9. Zombie Limbo Time
10. Foggy Eyes
11. Knock On Any Door
12. Sea Babies
13. Tales Of Brave Aphrodite
14. Polly Pereguinn
15. I Dig You

The definitive oral history of Scottish postpunk, from Glasgow to Edinburgh, the Postcard label and Fast Product Description.

The immense cultural contribution made by two maverick Scottish independent music labels, Fast Product and Postcard, cannot be underestimated. Bob Last and Hilary Morrison in Edinburgh, followed by Alan Horne and Edwyn Collins in Glasgow helped to create a confidence in being Scottish that hitherto had not existed in pop music (or the arts in general in Scotland). Their fierce independent spirit stamped a mark of quality and intelligence on everything they achieved, as did their role in the emergence of regional independent labels and cultural agitators, such as Rough Trade, Factory and Zoo.

Hungry Beat is a definitive oral history of these labels and the Scottish post-punk period. Covering the period 1977-1984, the book begins with the Subway Sect and the Slits performance on the White Riot tour in Edinburgh and takes us through to Bob Last shepherding the Human League from experimental electronic artists on Fast Product to their triumphant number one single in the UK and USA, Don't You Want Me. Built on interviews with Last, Hilary Morrison, Paul Morley and members of The Human League, Scars, The Mekons, Fire Engines, Josef K, Aztec Camera, The Go-Betweens and The Bluebells, Hungry Beat offers a comprehensive overview of one of the most important periods of Scottish cultural output and the two labels that changed the landscape of British music.

"The Young Ones' Flaming Lips meet Jacques Brel in a pean to lost youth, 'Comme dans un Reve' Dream bossa chanson a la Gainsbourg/ Birkin. ‘Dreams’ is the second of the final trilogy of albums by critical darlings The Real Tuesday Weld following last year's acclaimed noir-themed ‘Blood'. This collection references late sixties songwriting a la Lee Hazlewood, Jimmy Webb and Burt Bacharach with nods to Flaming Lips and Tin Pan Alley, all mixed up with hazy lo-fi electronica, ghostly atmospherics and cinematic instrumentals. Guest vocalists A Girl Called Eddy, Sephine Llo and Oriana Curls provide a counterpoint to main man Stephen Coates' Gainsbourg-like crooning. Continuing the band's long preoccupation with dreams, the songs were written in the early morning or late evening on 'either side' of sleep: ‘I’d rise super early and go straight to it with the emotion of the night’s imaginings still heavy on me or work in that strange space-time just before sleep claims us”. The album is sequenced in an approximation of a life, from youth to age, with the band’s perennial focus on London, love, the English landscape and time passing. ‘Bone Dreams Blood’ in particular is a sonic memorial to friends loved and lost in the life of London.

TRACK LISTING

1. The Young Ones
2. Kinky Love
3. Bone Dreams Blood
4. I Awoke To Find I Was Dreaming
5. Ever After
6. Lost Endeavour
7. Curtain Call
8. Comme Dans Un Reve
9. Bodhisattva Of The Gulag
10. Everything
11. Last Light 

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner, (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On' was written in Germany in 1989 by Leonie Gane and Ryan Paris laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

STAFF COMMENTS

Matt says: Can you believe this sat unreleased for 33 years? Can you believe it's actually 33 years old?! Unfathomable questions to a record that, if it had been released, would be WAY ahead of its time. Instead, we get it now, and it makes complete sense. Devil Dee - a timing genius.

TRACK LISTING

01 And The Beat Goes On (marco Magrini Extended Edit)
02 And The Beat Goes On (instrumental)
03 Devil Dee Ft Joan Faulkner And The Beat Goes On Club Version
04 And The Beat Goes On (electro Dub By Devil Dee Claudio Casalini)

Includes his duet with Charlotte Gainsbourg…

This era defining, pop classic includes debut single ‘Small Town Boy’, a huge global hit, which continues to resonate across generations and remains a dance-floor staple. Remastered from original 1984 analogue tapes. New sleeve notes from Jimmy Somerville, Mike Thorne and Paul Flynn.

TRACK LISTING

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love & Money
6. Smalltown Boy
7. Heatwave So
8. Junk
9. Need A Man Blues
10. I Feel Love/Johnny Remember Me

CD BONUS TRACKS
11. Why? (12” VERSION)
12. Smalltown Boy (12” VERSION)
13. It Ain’t Necessarily So (12” VERSION)
14. I Feel Love/Johnny Remember Me (12” VERSION)

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia…but his biggest legacy is without a doubt him being the singer and bandleader of Ofege.

Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band!

Melvin Ukachi recorded four milestone albums with Ofege: ‘Try and Love’ (1973) ‘The Last of The Origins’ (1976), ‘Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: ‘Evolution-Bring Back The Ofege Beat’ (1981) and ‘I am Ok’ (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike.

On the album, we are presenting you today (Evolution-Bring Back The Ofege Beat) the listener is treated to the trademark Ofege sound (as the title of the record obviously suggests). Next to the rootsy and raw Ofege sound, we’re shown a perfect glimpse of the late ’70s afrobeat works combining soul, jazzy rhythms, William Onyeabor style synths & fluid boogie-danceability

Expect some serious ‘all-star’ guest musicians as well…featured on the album are Chyke Madu (The Funkees) on drums, Berkley Jones (Ofege) on guitar…and many other local legends. To top things off the tracks were recorded and mixed at the legendary Abbey Road Studios in London…all slickly engineered by Rafiu Ayoade (The Apostles) and produced by the president of sound himself Odion Iruoje (known for his work with Manu Dibango, Fela Kuti…and many others).

‘Evolution-Bring Back The Ofege Beat’ was released on EMI Nigeria in 1981 and is a total Afro-psych-funk classic that begs for a special place in your record collection. It’s tight, funky and Melvin’s soulful vocals are to die for. This record is a monster!

TRACK LISTING

Wait For Love
Bring Her Back
This Is The Living
I Need You
Down The Highway
Mr. T
Perfect Timing
Evolution

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

Following the success of the transference to vinyl of the first five 'Scene' titles last RSD, Decca continues its celebration of its rich heritage with five more classic overviews of its catalogue.RECORD ONE Side 1 1.The Poets I Love Her Still 2.The Game Gonna Get Me Someone 3.Thee Each And Every Day 4.The Mighty Avengers (Walking Thru' The) Sleepy City 5.Shel Naylor It's Gonna Happen Soon 6.The Beat Boys Third Time Lucky Side 2 1.The Mark Four Hurt Me If You Will 2.Sandra Barry and The Boys Really Gonna Shake 3.Lulu & The Luvers Surprise Surprise 4.The Mojos Everything's Al'Right 5.The Beat-Chics Now I Know 6.The Pete Best Four I'm Gonna Knock On Your Door RECORD TWO Side 1 1.The Warriors Don't Make Me Blue 2.The Marauders That's What I Want 3.The Brooks Once In A While 4.Rick and Sandy Lost My Girl 5.Unit Four Plus Two I Was Only Playing Games 6.Tierney's Fugitives Did You Want To Run Away Side 2 1.The Mockingbirds One By One 2.The Rockin' Berries Itty Bitty Pieces 3.The Knack Who'll Be The Next In Line 4.Brian Poole and The Tremeloes Keep On Dancing 5.The Hi-Numbers Heart Of Stone 6.The Andrew Oldham Orchestra Da Doo Ron Ron

Prodigious 20-year old South East Londoner Tom Misch releases Beat Tape 2through his own label Beyond The Groove. The project is a soulful extension of the themes explored on Beat Tape 1, this time featuring a host of collaborations including Carmody, the beautifully delicate soulful singer who just happens to be one of his friends older sister; fast-rising wordsmith, Loyle Carner and Melbourne native Jordan Rakei, who since striking a friendship up with Tom online, has taken the plunge and moved from Oz to East Dulwich himself.

On Beat Tape 2, Tom has evolved his sound from its origins in Boom Bap hip-hop stylings of producers like J Dilla to encompass his diverse range of influences. Tom's music finds the sweet spot between electronica, hip-hop and acoustic, predominantly linked by a single quality: soul. "It's about the feeling you get from the music that makes it soulful, and for me that comes down to the chords. If it's a nice, soulful chord progression that's what makes it soulful and gives you that warm feeling. A lot of Gospel music, J Dilla, Erykah Badu and Jazz - I find that very soulful. That's what I listen to, so I guess that comes out in my music."

TRACK LISTING

Disc: 1
1. The Journey
2. Wander With Me
3. Nightgowns

Disc: 2
1. Falafel
2. Wake Up This Day
3. In The Midst Of It All

Disc: 3
1. Come Back
2. Your Love
3. Hark

Disc: 4
1. Colours Of Freedom
2. Beautiful Escape
3. Home

Long before they were a band, Montreal duo The Beat Escape took a small first step towards a longer journey at a university video class. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” say Beat Escapists Addy Weitzman and Patrick A Boivin of their founding collaboration. Many other projects and outside collaborations later, the duo have crafted a debut album their younger selves would be proud of: Released through Bella Union, the sublimely immersive ‘Life Is Short The Answer’s Long’ plays like a waking dream of near-psychedelic electronic pop, moving to its own beat in the push-pull of forward motion and submerged reflection.

That sense of propulsion ushers opener ‘Sign Of Age’ into rising view, its sparse drums, hypnotic sequence and melancholic chords resembling house music as reimagined by Angelo Badalamenti. The enveloping mood holds as ‘Moon In Aquarius’ unfurls like a nighttime road ahead, ghosted by narcotic harmonies. ‘Limestone Alps’ lingers meditatively, hymnal vocals reverberating. ‘Where Water Ends’ and ‘More Dreams’, meanwhile, navigate the porous boundary lines between Krautrock, Factory Records and obscure minimal wave records of the 80s.

STAFF COMMENTS

Barry says: Superb throbbing pseudo-synthery from The Beat Escape, Bella Union's answer to Pye corner Audio mix swooning pads and soaring vocal abstractions around a dynamic core of weighted percussion, flickering arpeggios and spine-tingling euphoric leads.

TRACK LISTING

Sign Of Age
Moon In Aquarius
Limestone Alps
Where Water Ends
More Dreams
Then I Drift Away
Seeing Is Forgetting
Thousand Pound Shoes
Nemo Propheta

"Invisible Starlight" is a ripping tune by an unknown midwestern funk outfit with a driving backbeat and soaring horns. It sounds like Ohio to us, but we can't be sure. What is certain however, is that these gents rocked the local bowling alleys, social clubs and loungespots wherever they went. Label bosses Universal Cave touch down on the A-side with their primo 45 edit, hitting us with a relentless groove of fat bass, bright horns and irrepressible rhythm guitar - so damned phonky y'all. Meanwhile on the flip, The Beat Broker rounds out the original with his signature style and an impeccable ear. The Kind Dub's sun drenched delay and reinforced drums ensure that Invisible Starlight will shine over any dancefloor!

STAFF COMMENTS

Patrick says: Here we have a hot 7" of the rawest, roughest disco funk, expertly retweeked for modern jocks. There's looped licks on the A-side from the UC crew, while Beat Broker gets dubby-in-the-disco over on the flip...

TRACK LISTING

A1. Invisible Starlight (Universal Cave Edit)
B1. Invisible Starlight (The Beat Broker Kind Dub)

Received a 7.6 rating from Pitchfork. Following the release of COLD BEATS Worms/Year 5772 EP via bandleader HANNAH LEW’s (GRASS WIDOW) Crime on the Moon imprint, Over Me is the Bay Area act’s debut album. Propulsive and taut performances from guitarist KYLE KING and drummer BIANCA SPARTA (ERASE ERRATA) bely Lew’s glassy vocal melodies.

A cathartic album, Lew sourced difficult personal experiences to create an immersive lyrical world sometimes fraught with paranoia, anxiety and impending doom, and also an exploration of hope and imagination—themes felt ever more acutely by a native San Franciscan artist in the midst of tech boom cataclysm once again. Over Me was recorded by PHIL MANLEY at Lucky Cat Studios in San Francisco, and mixed and mastered by MIKEY YOUNG in Australia. As a Crime on the Moon release, a percentage of sales benefit Charity: Water, an organization committed to eliminating privation in developing nations.

Received a 7.7 rating from Pitchfork. Less than a year after COLD BEAT's debut LP, Over Me, the band is set to release Into The Air on bassist, vocalist, and primary songwriter HANNAH LEW's label Crime On The Moon. Moving past the themes of grief and loss prevalent on Over Me, Into the Air explores ideas both earthly and celestial. Some songs are attempts at describing complex emotional landscapes, while others playfully wonder about physics and astronomy, often delving off into deep fantasy. But it doesn’t stop with the personal or metaphysical.

With the exodus of artists and musicians leaving San Francisco due to increased rent prices and overall cultural changes, Cold Beat has persevered through the city’s metamorphosis into a place less and less hospitable to artists. One can pick up on a sense of discontent in the face of a rapidly growing techie millionaire culture on Into The Air. There is a sense of fighting to survive. One can almost hear the struggle represented on the record as guitars face off against increasingly prevalent synths. 

'Hey daddy-o, I don’t wanna go down to the basement,’ spat some lanky bespectacled dope once a long time ago. Trust Burnt Hills to wait until he was long enough dead to afford the opportunity to not have to. Holed-up at the Helderberg House in Albany, NY, these cuddly middle-aged monsters of tuff, levitational, psychedelic thug punk swirliness have made an avant-rock legend of their agoraphobia. They played out a few times over the years – Bard College, NY; Weirdo Records, MA; Ron Schneiderman’s Festival Of Endless Gratitude back during the heyday of that ‘New Weird America’ boom; the legendary Elevens show in Northampton, MA – but their collective heart has remained between four breeze-blocked walls, surrounded by the washing machine, some DIY tools, a wall of 4×12 cabs loud enough to be heard four streets away and an occasional Monday night party crowd, every member of which knows how utterly blessed s/he is to be there witnessing this glorious band take flight.

When the party’s not there, the band still is – pretty much every Monday for the past 10+ years now – doing it purely for its own reward. Real goose bump shit. Golden Lab feels no smugness in having witnessed this thing in action seven times now (and sat in on one unforgettable occasion). Rather a sense of longing that the rest of the right thinking world could be afforded the same opportunity. But then, isn’t it the inaccessibility that makes it so special?

Live At The Low Beat does much to disprove that theory. The show presented on this LP, recorded to digital handheld recorder and mastered in Manchester, UK by Dom Tanner, took place at a local eatery regularly frequented by the band (the restaurant boasts bottles of BH founder Jackson Wingate’s homemade ‘Flipped Out Records Habanero Death Sauce’ on its tables) on December 4th 2014. It was the first of what, it has been decided, will be an annual Burnt Hills performance outside the basement. Nine of the ten full-time members of the band were in attendance on this night (guitarist Panda was absent) and it’s safe to assume that they were all pretty well smoked, fed and oiled by the time they took to the stage as it doesn’t take long for shit to really fly. Close to 50 minutes in total, this is the most savage, raging, oblivion-bound Burnt Hills set yet committed to wax.

There’s a whole bucketload of sensitive noodling amidst the chaos – along with the obligatory shred – but it’s, of course, the six-guitar pile-up that really takes this crescendo-obsessed troupe of suburban weirdos into the ‘Lord take me now!’ zone. As with the prior two Burnt Hills releases on Golden Lab, we feel blessed to be the label putting this out into the world. In an edition of just 250 copies with stunning psychedelic splurge art by Desmadrados Soldados De Ventura guitarist Dylan Hughes, this is gonna fly far and fast. Grip one while ya can.

UK rock/punk/pop band The Subways release limited edition 7" record, their first physical release since 2011 via their own label YFE Records/Cooking Vinyl.

The 7" vinyl features the new single, 'My Heart Is Pumping To A Brand New Beat', written, produced and mixed by the band’s singer Billy Lunn, as well as a further new track 'Taking All The Blame' recorded live by SWR/Dasding at Sousthside Festival in Germany.

“I wrote this track after I recently resolved a difficulty in my life as I was surrounded by the pulsing beats of my favourite songs and a throng of complete strangers crashing around the dance floor. Music has a wonderful power to heal wounds.” Billy

Pe_ahi (/pe____hi_/ pay-ah-hee; is a place on the north shore of the island of Maui in the US state of Hawaii. It has lent its name to a big wave surfing break, also known as Jaws. During off season the spot is taken over by meth fuelled crazies and people are advised to not venture out there.

Immersed in the surf-history of Southern California, where both Sharin and Sune reside, the album incorporates various elements from this culture into every song both lyrically and musically. The result is their most complex, intricate and autobiographical work to date.

Without doubt, funk is the mother of hip-hop - and although disco is sometimes viewed as somewhat anathematic to that movement, it’s worth remembering that for a while at least, it provided the vehicle that brought rap out of New York and presented it to the world - and the results of these divergent musical styles crossing paths still resonate around the globe. It’s easy to forget or play down the importance of the Sugarhill Gang’s ‘Rapper’s Delight’ - an unusual, clever novelty record that was cocksure and playful, which burned up the commercial airwaves in 1979. It was followed swiftly by Kurtis Blow’s ‘Christmas Rapping’, which also charted and gave Top Of The Pops its first on-stage rapper in early 1980. Although it wasn’t yet referred to as hip-hop in the UK, rap had already made itself known to the record-buying public at large - and as the rap 12" single was barely a year old, this was an incredible feat for such a nascent scene. The largely independent rap releases which had been slowly but steadily trickling out of the US would occasionally, like Sugarhill’s appropriation of Chic’s ‘Good Times’, take their musical cues from popular club tracks of the day - and disco-derived rap records were plenty.

‘Rock It… Don’t Stop It!’ features a selection of forgotten or relatively obscure rap singles from the ’79-‘83 period, universally known as ‘old school’, which fall into the hip hop-disco category. Inspiration for these vignettes from hip-hop’s evolution range from classic party rockers by Cheryl Lynn, through to Yazoo (and, no doubt, ‘Rapper’s Delight’) and the featured MCs give it their best shot with humour, earnestness and everything in-between. Although most of these hail from New York state, the under-represented Massachusetts shines alongside a prominent player which at the time had yet to find its own distinctive voice - Los Angeles. Hip hop and rap are now a dominant force in contemporary music and have constantly adapted to stay relevant, drawing on and absorbing all around them. ‘Rock It… Don’t Stop It!’ goes back over 30 years to their collective big bang moment.

The first post-IRS Records outing from the Cramps is seriously live from the Legendary Peppermint Lounge and shows the band to be in fine fettle, full flight and fantastic.

TRACK LISTING

Thee Most Exalted Potentate Of Love
You Got Good Taste
Call Of The Wighat
Faster Pussycat
I Ain't Nuthin' But A Gorehound
Psychotic Reaction

As the Cramps approached their 20th anniversary, they showed no signs of changing their signature kitschy psychobilly style. 'Big Beat From Badsville' is a collection of campy songs about sex, horror, violence, leather and perversion - well what else did you expect?! Sonically, it's slightly rawer than it's predecessor, Flamejob, and the group's performances are as inspired here as they are on any of their other '90s albums.

TRACK LISTING

Cramp Stomp
God Monster
It Thing Hard-On
Like A Bad Girl Should
Sheena's In A Goth Gang
Queen Of Pain
Monkey With Your Tail
Devil Behind That Bush
Super Goo
Hypno Sex Ray
Burn She-Devil, Burn
Wet Nightmare
Badass Bug
Haulass Hyena

“Nippon Rock’n’Roll” documents the rise of Masaaki Hirao. Dubbed “The Japanese Elvis”, Hirao was one of the famed Rokabirii Sannin Otoko (Three Rockabillies), alongside singers Mickey Curtis and “Kei-chan”, Keijiro Yamashita. In early 1958, the rokabirii buumu (rockabilly boom) was born, the first youth music tribe in the Land Of The Rising Sun.

Rokabirii may resemble US rockabilly, but this Nipponese version is a more varied dish. Hirao and his band’s covers of Eddie Cochran, Elvis Presley and Little Richard are not kitsch renditions, but raw, desperate rockers. Hear a Paul Anka makeover, but put through a rocking mangle; a smattering of jazz; a twist of New Orleans; and some Japanese folk songs with a greased-down quiff. American occupation a distant memory, these boys wanted to party.

Country and hillbilly music was a mainstay of young Japanese musicians working the GI base and jazz café circuit of the 1950s. Following the runaway success of a Japanese cover of ‘Heartbreak Hotel’ (Hirao’s version here has dynamite in its teeth), demand grew for more of this strange, new music. The need was met with a huge gala, the Nichigeki Western Carnival, which showcased the new rokabirii groups to thousands of screaming Japanese teenagers. Wild footage of the concerts, alongside that of burgeoning radical student movements, put fear of a wave of delinquency into the heart of the establishment.

The studio numbers here are hardboiled, with unkempt live recordings that really rock. Tough drums back up honking sax, in a pedal steel pandemonium with slap bass. In the words of Elvis: these guys “get real gone”.

TRACK LISTING

01. Lawdy Miss Clawdy (Live)
02. Itsuki No Komoriuta Rock
03. Hoshi Wa Nandemo Shiteru 2 (Live)
04. Crazy Love (Live)
05. Jailhouse Rock

Side 2
01. Jenny Jenny (Live)
02. Ooh My Soul (Live)
03. One Way Ticket
04. Miyo-chan
05. Blues De Memphis

Classic collection of early Prince Buster related material - a 23 track CD and 16 track LP compilation of early Blue Beat tracks featuring Prince Buster, Buster's Group, or other Prince Buster groups, The Blue Beats, The All Stars, The Torchlighters and Voice Of The People amongst others.

The third and final part of Sunrise's 'Blue Beat' double CD compilation series focusing on the year 1962 and a companion to parts 1 and 2 released earlier in 2013.

Also contains bonus tracks from subsidiary label Dice, also from 1962. CD1 features all the A-sides while CD2 features all the B-sides and includes many rare and sought after tracks. Includes tracks by Owen Gray & Millie Small, Eric Morris, Derrick Morgan, Laurel Aitken, Roland Alphonso and many, many more - 56 (FIFTY SIX!) tracks to get your lugholes round.

TRACK LISTING

Disc: 1
1. Sixty Days & Sixty Nights - Laurel Aitken & The Les Dawson Combo
2. Crying In The Chapel - Derrick Morgan & Patsy Todd
3. Give Me A Chance - Lloyd Robinson Rico Rodriguez & His Band
4. Oh My Love - Derrick Morgan & Patsy Todd
5. Independence Blues - Basil Gabbidon
6. It's True Love - Keith & Enid
7. You Cheated On Me - Al T. Joe & The Celestials
8. Pretty Girl - Owen Gray
9. Over The Hills - Eric Morris & Buster's All Stars
10. Our Melody - Basil Gabbidon & Randy's All Stars
11. Should Be Ashamed - Derrick Morgan & Buster's Group
12. I Care - Derrick Harriott & The Vagabonds
13. Bringing In The Sheaves - Theo Beckford
14. Time Longer Than Rope - Prince Buster & The Band Of The People
15. I'll Be There - Winston Stewart & Bibby Seaton & The Rhythm Aces
16. Love Me Or Leave Me - Lloyd Clarke
17. They Got To Move - Owen Gray
18. Miss Peggy's Granddaughter - Eric Morris
19. One Hand Washes The Other - Prince Buster & The All Stars
20. By The Tree In The Meadow - Owen Gray & Buster's Group
21. Seven Long Years - Eric Morris
22. Joybells - Derrick Morgan & Duke Reid's Group
23. Weary Wanderer - Laurel Aitken
24. White Christmas - Simms & Robinson
25. Mr. Policeman - Busty Brown & Cool Sticky
26. Come To The Wedding - The Marvels
27. Independence Time Is Here (aka Rise Jamaica) - Al T. Joe
28. Mr. Postman - Rudy Grant & Sketto Rich Laurel Aitken Band -
Disc: 2
1. Going To Kansas City - Laurel Aitken & The Les Dawson Combo
2. Come Back My Love - Derrick Morgan & Patsy Todd
3. When You Walk - Lloyd Robinson Rico Rodriguez & His Band
4. Let's Go To The Party - Stranger Cole & Patsy Todd
5. For You My Love - Basil Gabbidon
6. When It's Spring - Keith & Enid
7. This Heart Of Mine - Al T. Joe & The Celestials
8. Twist So Fine - Owen Gray
9. Lazy Woman - Eric Morris & Buster's All Stars
10. Going Back To JA - Basil Gabbidon & Randy's All Stars
11. Marjorie - Derrick Morgan & Buster's Group
12. Have Faith In Me - Derrick Harriott & The Vagabonds
13. Runaway - Theo Beckford & Girlie
14. Fake King - Prince Buster & The Band Of The People
15. Dewdrops - Don Drummond & Aubrey Adams Group
16. Matthew Lane Shuffle (aka Merry Twist) - Charles Organaire
17. I Love Her - Owen Gray
18. Megaton - Buster's Group
19. Cowboy Comes To Town - Prince Buster & The All Stars
20. Lizabella - Owen Gray & Buster's Group
21. For Your Love - Buster's Group
22. Going Down To Canaan - Derrick & Denzil With Duke Reid’s Group
23. Jenny Jenny - The Bandits
24. Searching - Simms & Robinson
25. What A World - Busty & Cool
26. Christmas Blues - Rudy Grant & Sketto Rich With The Laurel Aitken Band
27. Angelo - The Marvels
28. I'm On My Own - Al T. Joe

The Blue Beat series continues with the second 25 singles released on the Blue Beat label in 1962.

Also contains bonus tracks from subsidiary label Dice, also from 1962. CD1 features all the A-sides while CD2 features all the B-sides and includes many rare and sought after tracks. Includes tracks by Owen Gray & Millie Small, Eric Morris, Derrick Morgan, Laurel Aitken, Roland Alphonso and many, many more - 56 (FIFTY SIX!) tracks in total!

The Blue Beat series continues with the first 23 singles released on the Blue Beat label in 1962.

Also contains bonus tracks from subsidiary label Dice from 1962. CD1 features all the A-sides while CD2 features all the B-sides and includes many rare and sought after tracks. Includes tracks by Jimmy Cliff, Derrick Morgan, the Blues Busters, Shenley & Annette and many, many more - 56 (FIFTY SIX!) tracks in total!

Sweet Talks were undoubtedly amongst the top five biggest bands in Ghana in the 1970s recording a string of hit albums. "The Kusum Beat" was originally released in 1974 and became somewhat of a household favourite with heavy  emphasis on the 'Afro' through its traditional rhythms and motifs, blended  together into a modern mix that combined highlife, funk and Afro-beat. Like small handful of seminal Ghanaian albums, "The Kusum Beat" has stood the test of time and sounds as original and unique today as it did back in 1974 thus original pressings are in high demand and can be found on record exchanges for significant prices. This was the second album from the band who were formerly known as El Dorados later to change their name to Medican Lantcis before settling on The Sweet Talks having moved to a live residency at the legendary Talk Of The Town nightclub in the port town of Tema, just outside the capital of Ghana - Accra. It is here they established a name for themselves as one of the most exciting young bands in the country. "The Kusum Beat" is far from typical of their trademark sound but shows just how versatile an outfit they were - able to turn their hands to any one of a number of styles. It’s a great reminder of how open-minded, experimental and curious the music scene in Ghana was back in the first half of the 1970s.

On August 30, 1986, The Cramps played the final night of their 'Date With Elvis' World Tour. The venue was The Galaxy in Auckland, New Zealand. Sleazing it up live, the band rated this their best gig of the whole tour (and it had been a great tour!). After the gig, the sound engineer gave the band a tape he had run off during the concert. Back at their hotel, The Cramps were amazed to discover that the recording was, unusually for these things, of almost studio quality. For a band that had been heavily bootlegged at live gigs, it gave The Cramps the chance to challenge the shoddy sound of the pirate recordings by putting out a top quality official bootleg album of their own. A deal was sorted out with Big Beat's Roger Armstrong and a one drop pressing arranged. There were no promos and the album was never advertised but the pressing of 40,000 copies sold out immediately. The original vinyl album came out on Vengeance, which, in the early days, had been The Cramps label for their first 2 singles. This version of The Cramps (with Lux Interior, Ivy Rorschach, Candy del Mar and Nick Knox) was one of the best and "Rockinnreelininaucklandnewzealandxxx" once again, offers the opportunity to catch one of rock music's greatest bands in scorching form.

TRACK LISTING

Side 1
01 The Hot Pearl Snatch
02 People Ain't No Good
03 What's Inside A Girl
04 Cornfed Dames
05 Sunglasses After Dark

Side 2
01 Heartbreak Hotel
02 Chicken
03 Do The Clam
04 Aloha From Hell
05 Can Your Pussy Do The Dog?
06 Birdfeed

This album compiles Beat Happening songs recorded between 1984 and 2000, including material long out of print on 45's and compilations, including the original version of "Nancy Sin". The last four songs are from the Screaming Trees / Beat Happening collaboration EP. This was originally included in the Beat Happening seven CD boxset "Crashing Through" and now its available in its own right.

The New Riders Of The Purple Sage (named after a Zane Gray Western novel) were formed by Grateful Dead members Jerry Garcia, Phil Lesh and Mickey Hart with songwriter John Dawson and singer David Nelson as a way to record their new country songs. Their eponymous debut was a musical counterpart to Grateful Dead releases like "Workingman's Dead" and "American Beauty" with its mix of country and psychedelic sounds. "Powerglide" had a stronger band feel again mixing country-rock and folky psychedelic licks to maximum effect.

Formed in Manchester in 1963 Wayne Fontana & The Mindbenders followed the Merseybeat boom to London and had their first hit in 1964 with a cover of Major Lance's "Um, Um, Um". They were a classy 'British Beat' band comparable to the Searchers, Billy J Kramer and the Dakotas or Gerry and the Pacemakers. Always playing catch up with the Beatles they were to have huge hits with "Game Of Love" and later with "A Groovy Kind Of Love" a hit featuring Eric Stewart and Graham Gouldmand later of 10 CC. These 1964 and 1965 recordings capture the band at their youthful and energetic best.