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NEWLY REMASTERED SOUNDTRACKS FROM MORRICONE’S INCREDIBLE BACK CATALOGUE! DEDICATED TO CULT SOUNDTRACKS COLLECTORS.

Stockholm's Linn & Freddie debut excursion with Dinked Records sees two wonderful summery tunes, taken from their their long-awaited second album Right Here in the Middle, pressed up on 7 vinyl for the first time. The aptly named Sunshine is the perfect head nodder for those summer BBQs and Festivals. Flipped with a reggae/ska-fused version of the William DeVaughn classic, Be Thankful For What You Got this essential for your crates. Limited pressing of 500 copies don't sleep!!

IZIPHO SOUL is thrilled to release the epic “HIGHER POWER”- better still these are unearthed and unheard versions, especially commissioned for this 7” release.

Paul Tillman Smith wrote, produced and assembled the cream of Bay Area musicians - Featuring the legendary late greats - Freddie Hughes, Pharoah Sanders and Calvin Keys.

Freddie Hughes powerful tenor voice is ’Dripping with soul’ and at it’s captivating best - the warm tones of Pharaoh Sanders’ tenor saxophone intertwines with the harmonic richness of the backing vocals, making this an immense piece of music!

Studio One Sound is the classic Studio One collection from Soul Jazz Records. Described as ‘The University of Reggae’ by Chris Blackwell, Studio One, and founder Clement ‘Sir Coxsone’ Dodd are by far the most-important names in the history of reggae music. Originally released in 2012 this album has been out of print for many years, making it one of the most-collectible of Soul Jazz Records’ Studio One Series. This is the first ever colour vinyl edition of this classic album.

The album features some of the most in-demand and collectible Studio One tracks from over its fifty-year history and includes incredible legendary reggae artists such as The Heptones, Ken Boothe, The Skatalites, Johnny Osbourne and Wailing Souls. All these artists (and hundreds more) launched their careers at Studio One under the guidance of Clement 'Sir Coxsone' Dodd. The Studio One Sound collection features everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots. Sleevenotes are by Rob Chapman, author of the celebrated books about Studio One Records, 'Never Grow Old' and 'Downbeat the Ruler'. The exact reproduction of the original artwork features the classic image of Dennis Brown on the cover. This album is newly fully remastered for vinyl by Jason Goz at Transition. Exclusive one-off pressing on heavyweight double transparent green vinyl.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

Rare as fish knees, roots gem!

“Me Look Like A Lion But Me Humble Like A Man”

Fredrick Dookie & Desmond Silpatt were cousins and close friends who though not prolific, created one stunning reggae tune which has been near impossible to find for over 40 years.
Like artists from Supercat to Sheila Rickards, Freddie & Dessie are of Indo-Jamaican descent. They gravitated to music from an early age.

Recorded at Aquarius and arranged by Wire Lindo, the track features back up vocals from a young Beres Hammond.

"I have loved this song for a very long time and this exclusive reissue has been in the works for several years since I tracked down one half of the duo Dessie aka Desmond Silpatt who is now based in Florida." says Chris from Shella Records.

Freddie who provides the song’s hypnotic vocal was a devout Rasta man who sadly passed away in 2019. He is survived by Dessie, a renaissance man, inventor and author who has penned thousands of songs in his time.

Legendary Mello Music Group producer Apollo Brown's feature packed album including Oddisee, Evidence, Freddie Gibbs, Masta Ace, Vinnie Paz, Westside Gunn, Sean Price and more! 19 full boom bap classics. A celebrated fan favorite with over 20 million streams is finally back on vinyl with this special double lp olive green edition.

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

Killer and classic tune from the Stingray archive! Worked with Dilly on licensing this, and Freddie McGregor 'Hand In De Fire'. Heavyweight Yard Roots style out of the UK. Originally released as 12" in the 90s, this is the same mixes as this now hard to find piece of UK Roots history! Classic Robert Nesta Marley, as sung by the legendary Vivian Jones.

Soundsystem classic from the Stingray archive. One of the true anthems of this era in Reggae music, getting a finally deserved reissue. Only, this is the ‘LP only’ vocal cut released on single for the first time, with heavy mixing, and Dub Version on the flip. Crucial Freddie, and one of his best from this 00s era. Listen tune!

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

Descr: The return of Monday Morning on vinyl is captained by it’s founder Manuel De Lorenzi in sweet company of his close friends and talented producers Giacomo Silvestri, Freddie Wall and Fichs. The aim of the label is always to promote music without compromises so you can play it loud on the dance floor or just listen at home to understand the journey and the message that Manuel De Lorenzi wants to give to the people. As the vinyl says: WE ARE ALL UNDER THE SAME MESSAGE CALLED LOVE…!

Downtempo lo-fi soul ballad 'Vibration Part Two' from Joe Brown and the Soul Elderados, a favourite amongst collectors that continues to gain traction with a growing new wave of listeners absorbed in oldies playlists. Roc Marciano fans will recognise the source for 'Dolph Lundgren'.

From the late ‘60s to mid-‘70s, Atlanta’s Joe Brown sang on several singles for various local labels and studio-owned imprints, like Master “W” Records which was run by Bobby Whitley Music Supply, Inc., in Lawrenceville, GA. Both a musician and engineer, Whitley released a number of recordings by Brown as well as The Soul Elderados. “I played Fender Rhodes or piano tracks to some of Joe’s recordings”, recalls Whitley’s daughter and pianist, Cindy. “Dad hired studio musicians to play and Joe had some musicians himself. He was very talented. My dad enjoyed recording him.” In 1972, back in Atlanta, Dr. W. J. Stafford, a prominent pastor and founder of the Free For All Baptist Church, owned and operated two downtown nightclubs, including the Soul Expedition, where Freddie Terrell led the house band every Saturday night before church on Sunday. “He did things different but no one had ever done anything quite that different”, noted Terrell. Reverend Stafford, who sung baritone with the Five Trumpets as a young man, started F.F.A. Records and released Joe Brown’s ‘Vibration’ in two parts featured here.

A long-lost treasure from the golden era of disco & funk, featuring a powerhouse band assembled by Tony Sylvester & Pep Willie - the title track 'Fast Freddie The Roller Disco King' is a tke on 94 East's 'One Man Jam'

FREDDIE TERRELL & his Blue Rhythm Band struck gold in 1970 with the perfect slice of Crossover Soul “You Had It Made”, co-written with rare soul legend Herman Hitson. It failed to hit outside of his home town, Atlanta, Georgia and remains a highly sought-after and rare original, reissued here for the very first time. Terrell returned a couple of years later with the Soul Expedition releasing one of the most collectabhle soulful-funk albums of the decade.

CHARLES WILLIAMS also hailed from Georgia and relocated to Finland in the Seventies. In 1975 he released his debut album, the socially conscious, Love Is A Very Special Thing and the breakout single “Standing In The Way”. With it’s easy, soulful, jazzy groove and obscure heritage it caught the imagination of the UK scene and remains a midtempo favourite to this day.

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

BRIDGE - CRYING FOR LOVE b/w LISTEN

Paul Tillman Smith is a significant figure within in the music community of Oakland/Berkeley, California. His connections and collaborations read like a who’s who of famous musicians.

As leader of 70s Buddah Records group ‘Vitamin E’ and then onto ‘Bridge’, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day. It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre.

IZIPHO SOUL are thrilled to release on a 7” for the first time two gems from this magnificent body of work. CRYING FOR LOVE written by Paul Tillman Smith and Michael Robinson is perfection personified, from the production through to the lyrical content - and of course the sublime vocals of Debravon Lewis (RIP) the tone of her voice will move you to tears.

On the flip is LISTEN, penned by Paul Tillman Smith - a tour de force rendition by the late great Freddie Hughes with Sonny Lewis on sax, adding that extra touch of class.

A true masterpiece, full of dashing solos and containing some of Freddie King's finest vocals since his heyday in the late '50s and early '60s. Released by Shelter Records in 1972, Texas Cannonball is similar to his first Shelter outing (Getting Ready), but with
more of a rock feel. It covers tunes by Jimmy Rogers, Howlin' Wolf, and Elmore James, tackles compositions by Leon Russell and, more unexpectedly, Bill Withers, Isaac Hayes-David Porter, and John Fogerty (whose "Lodi" is reworked into "Lowdown in Lodi"). King's own pen remained virtually in retirement, as he wrote only one of the album's tracks. In 2007, the Houston Chronicle listed
Texas Cannonball among the 75 essential Texas blues albums.

Originating from Adelaide while performing and producing as half of the duo 'Warren Raww', Hank YM got his start by throwing a string of events in the well catered establishment 'Sugar Nightclub'.

While supporting and hosting the likes of Funkineven, Damiano Von Erkcert, Mark Grusane and Florist, ambition turned more towards production in 2017. Taking inspiration from fellow Adelaide musicians such as Mic Mills, Arthur Miles and Freddie Norwood (Untzz Records), the focus in Hank's sound has always been to create a unique experience, with sets flowing from roots percussion through to house and disco. First debuting with a strong release on Australian Label 'Centre Source Records', 'Wabi-Sabi' placed focus on percussion and lush chords inspired from Japanese aesthetic

Crackazat & Heist present: “Senses”. A stunning mini album that sees the artist deliver a heartwarming perspective on contemporary electronic music
On “Senses”, we see the pure talent of Crackazat come to life like never before. We’ve all danced to “Alfa” or his most recent hit on Heist “Demucha” and have heard his venture into the more poppy side of things with his 2022 album ‘Evergreen’ on Freerange. “Senses” however, is on another level. Crackazat takes you on a sonic journey exploring his musical personality with live keys, vocals, bass and production all coming from his studio in Uppsala, Sweden. The
jazzy horns that are featured throughout are recorded by Adeev and Ezra Potash, better known as the Potash twins. The duo took a sidestep from their recordings with John Legend, Robert Glasper and even Diplo to dive into this project with Crackazat and help him deliver arguably his best work to date.
The 6-track album starts off with the low-slung groove of ‘I need to know’. The whole atmosphere is warm, dreamy and seems to be written to lift your spirits, no matter where you are in life. Plucked strings, arpeggios and long horn notes give this song its energy, which is subtly supported by lo-fi drums and sparse bass licks.
“Do you think about me”, keeps the energy tight with a lovely drum groove and a sparse bass section. From the first note of the track, you get the feeling like the energy could change any moment. Halfway through this is exactly what happens, when uplifting keys and a buzzing lead take control of the track. The string arrangement is subtle enough to never overshadow the other instrumentation, but simply adds a beautiful layer to a track that’s already filled with
emotion. It’s all smiles when the energy of this track is set loose!
If “Do you think about me” is Crackazat in pop mode, “Freddie’s Groove” is Crackazat in full-on jazz mode. The nod to Freddie Hubbard is clear, and Crackazat cleverly takes ideas from both the jazz legend and his legendary French sampler, Pepe Bradock for this track. The horns are deep and moody, the groove is jazz-house at its best and Crackazat’s soft vocals have the perfect amount of fragility to fit the groove. The changeover into a stabby synth section
halfway through the track is a subtle reminder from the skilled producer that – even with all these musical elements – he can direct you to the front of the dancefloor with the twist of a note.
“Phantom” sees Crackazat move into a shuffling Latin-dance vibe. Here, the song reaches its full potential through the horn section, so it’s only fitting that this is the feature track for the Potash Twins. The Latin rhythms are lush, the key progression is on point and the energy on this track just keeps on going with layers and layers of horns, powerful vocal chops, and subtle but effective percussion changeovers.
“Endless life” is a track that feels like it’s building up momentum with every repetition. Whether it’s the broken beat groove, the offbeat keys or the sparse horn hits, chord hits or leads, there’s a certain energy in this track that takes a hold of you and simply doesn’t let go.
The outro “When we last met” is built around vibey drunk keys and a downtempo hip-hop groove. There’s a hint of old school D’angelo in this track and you can clearly hear the artist feels at ease with the path he’s taking the listener on. It’s a perfect ending to a record that showcases the beautiful world that Crackazat has crafted through his compositions and one thing is for sure: This is an album we will all keep coming back to for a long time to come.
Yours Sincerely,
Maarten & Lars

‘Beneath the beauty’ Transparent Sound inbound on PTX028 with Freddie Fresh on the cut.

'Bohemian Rhapsody' Original Film Soundtrack

featuring previously unavailable QUEEN performances at Live Aid
and new versions of band classics heads for October 19 release.

Available on Virgin EMI (Universal) /Hollywood Records (USA)
For the first time ever audio tracks from Queen's legendary performance at Live Aid are being released as part of the soundtrack album to "Bohemian Rhapsody", 20th Century Fox and Regency Enterprises' forthcoming feature film celebrating the band, their music and their extraordinary lead singer Freddie Mercury. Recorded at the historic Wembley concert in July 1985, these Live Aid songs are among the rare gems and unheard versions from the band's rich catalogue.

Alongside the show-stopping Live Aid performances of Bohemian Rhapsody, Radio Ga Ga, Hammer To Fall and We Are The Champions, the album features other rare live tracks spanning Queen's entire career, new versions of old favourites, and a choice selection of the band's finest studio recordings. Among them are some of Queen's biggest hits, including eleven all-time anthems that reached Number One around the world. The track listing is being announced on 5 September 2018, which would have been Freddie's 72nd birthday.

"Bohemian Rhapsody" is scheduled to have its World Premiere in the UK on 23 October before opening across the world in early November. It stars Rami Malek as Freddie, Gwilym Lee as Brian May, Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon, and Lucy Boynton as Freddie's lifelong companion Mary Austin. The soundtrack, featuring all-original Queen recordings and vocals, is released on CD and digital formats on 19 October.

xm Black talk [Part 1]
[xn] Hörprobe Track 8: Black talk [Part 1]



[xr] Thank you [Part 1]
[xs] Hörprobe Track 9: Thank you [Part 1]




























[yv] Listen here [Part 1]
[yw] Hörprobe Track 15: Listen here [Part 1]








[h] B4 | Charles Earland - Black talk [Part 1]
[i] B5 | Melvin Sparks - (Jazz) Thank you [Part 1]





[o] D2 | Freddie McCoy - Listen here [Part 1]

Die brandneue Kollaboration zwischen Freddie Gibbs und The Alchemist, „Alfredo 2”, ist der offizielle Nachfolger der gefeierten „Alfredo”-Veröffentlichung des Duos aus dem Jahr 2020.



Der Rapper Freddie Gibbs wird für sein technisches Können und seine provokanten Texte gelobt und hat sowohl Fans des Gangsta-Rap als auch des Underground-Hip-Hop für sich gewonnen. Er reimt sowohl auf dröhnende Breakbeats als auch auf Trap-Beats und hat mit zahlreichen Rappern und Produzenten zusammengearbeitet, darunter Young Thug, Jeezy, DJ Drama und Statik Selektah. In den 2000er- und frühen 2010er-Jahren machte er sich mit einer Reihe von selbst veröffentlichten Mixtapes einen Namen. Nach seiner ersten offiziell veröffentlichten EP Str8 Killa (2010) begann er, richtige Studioalben zu veröffentlichen, darunter die gut angenommenen Kollaborationen mit Madlib Piñata (2014) und Shadow of a Doubt (2015) sowie You Only Live 2wice (2017). Nach dem kommerziellen Mixtape Freddie (2018) tat er sich für Bandana (2019) wieder mit Madlib zusammen und produzierte mit The Alchemist das Album Alfredo (2020). Letzteres wurde seine erste LP, die die Top 20 der Billboard 200 erreichte und anschließend für einen Grammy Award nominiert wurde.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

Originally released in 2012, Lord Giveth, Lord Taketh Away captures a defining early chapter in Freddie Gibbs’ rise, pairing his unfiltered street narratives with Statik Selektah’s raw, boom-bap-driven production. Stripped of excess and heavy on realism, the project reflects an era where Gibbs’ sharp lyricism and moral tension took center stage.

The original seven-track lineup features a strong cast of underground heavyweights including Slaine, Daz Dillinger, Reks, PUSH! Montana, Termanology, Fred The Godson, Trae Tha Truth, Smoke DZA, and Chace Infinite—anchoring the album firmly in the early 2010s hip-hop underground.

This limited edition vinyl reissue expands the original release with three bonus tracks: “Carry On” featuring Joey Bada$$, “Serve Or Get Served” (available on vinyl for the first time ever), and “Crushin’ Feelings.” Featuring brand new artwork by Alejandro Torrecilla and mastered for vinyl by Davide "Bassi Maestro" Bassi, this edition stands as an essential archival release for fans of Freddie Gibbs, Statik Selektah, and uncompromising hip-hop.

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Roberto y su Nuevo Montuno recorded their first album, “El Nuevo Montuno Llegó” (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock’s own Uniart label. Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro “Pedrito” Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón’s title track that announced the band had arrived, ‘El Nuevo Montuno Llegó,’ to Quique Dávila’s mournful ‘Triste Arrabal.’ Then there was the hit Santería themed tune, ‘Llamé a Changó,’ which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed ‘Me Queda Un Guaguancó,’ which is Roberto’s favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila’s proud manifesto declaring that Puerto Rico now had its own son montuno, ‘Oye Tu Son, Borinquen,’ featuring the pianist’s tasty but brief solo. The cover versions came from the group’s earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez’s ‘Balancéate’ (a favorite of Roberto’s from Ray Barretto’s songbook), Bobby Valentín’s ‘Monina y Ramón’ (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, ‘Dichoso,’ written by Joe Cuba’s talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena’s Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. “El Nuevo Montuno Llegó” has become a legendary salsa dura classic from Puerto Rico and we are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

For over a decade, Hyunhye Seo a core member of Xiu Xiu, in her solo work navigates the precarious edges where composition dissolves into pure gesture. Through ecstatic piano improvisations, restless percussive attacks and an expansive use of acoustic space, she constructs layered sonic environments that move across the boundaries of noise, avant-garde jazz, ambient and contemporary classical music. Her performances reveal an unfiltered process of listening and creation - a practice in which thinking becomes the enemy, and surrender the only viable strategy.

Continuation captures one such surrender. Recorded live at MAO - Museo d'Arte Orientale in Turin during the exhibition Rabbit Inhabits the Moon – The Art of Nam June Paik in the Mirror of Time, this cascading piano improvisation unfolds as a dialogue between performer, space and the particular acoustics of a museum built to house contemplative objects. Jamie Stewart processes the sound in real time; Giuseppe Ielasi shapes the final mix. What emerges is a work of charged immediacy - restless gestures giving way to passages of unexpected tenderness, noise and silence trading places in continuous exchange. The title is precise: this is music that refuses conclusion, that exists in a state of perpetual becoming. On Side B, Continuous Extension offers an unprecedented response. Phew - the pioneering figure of Japanese avant-garde music since the late 1970s - was invited by curators Chiara Lee and Freddie Murphy to reinterpret Seo's performance. Working with synthesizer and subtle processing, Phew distills the resonances of Continuation into a new electronic landscape - waves of abstraction that echo like reflections in sound, tracing the harmonic tensions of Seo's playing into territories she herself did not visit.

The accompanying booklet includes an essay by Bruno Lo Turco exploring the deep connections between improvisation and Buddhist thought, and a written reflection by Seo on her own practice of surrender and listening.

Continuation is released on Ubi Kū, the record label of the Unione Buddhista Italiana. The cover reproduces Avalokitesvara "Water and Moon" from the Museo d'Arte Orientale "E. Chiossone" in Genoa - the bodhisattva of compassion gazing at the reflection of the moon in water. Like that reflection, this music exists fully in the present, complete and unrepeatable.

Supercoole Debüt-7"-Single von Marco Benevento, einem echten Klaviervirtuosen, der schon seit seinem siebten Lebensjahr spielt. Seine Karriere hat ihn schon oft um die ganze Welt geführt, wodurch er eine umfangreiche Diskografie und einen Ruf als gefragter Session-Musiker aufgebaut hat. Leon Michels, Mitbegründer von Big Crown und Grammy-Gewinner, hat Marco zum ersten Mal während der Aufnahmen zum Album ,Adult Themes" von El Michels Affair ins Boot geholt. Seitdem hat er sein Talent in unzähligen Big Crown-Projekten eingebracht. Außerhalb des Labels ist Marcos unverwechselbarer Stil unter anderem auf Alben von Clairo, Kevin Morby und Freddie Gibbs zu hören. Aber genug davon, was er für andere gemacht hat - diese Veröffentlichung zeigt Marco von seiner besten Seite: Er macht sein eigenes Ding und das richtig gut. Die A-Seite ,Frizzante" ist pure Feierlichkeit, eingefangen auf Vinyl, die darauf wartet, von der Nadel befreit zu werden. Es ist ein energiegeladener, gut gelaunter Kracher, bei dem Marco Melodien mit sich selbst über einem unerbittlichen Groove austauscht. Von der ersten Note an zieht dich der mitreißende Topline-Riff in seinen Bann und macht Platz für kaskadenartige Klavierläufe, üppige Bläserarrangements und Schichten von E-Piano und Synthesizern, die die Energie immer weiter steigen lassen. Es gibt keine Pause, keine Entspannung - nur einen richtigen Soul-Jazz-Tanz. Auf der 2. Seite zeigt Marco mit ,Turnadot" eine ganz andere Seite seines Sounds, zusammen mit der italienischen Sängerin Marianne Mirage. Der Song ist eindringlich schön und filmisch und passt perfekt zwischen Portishead und Serge Gainsbourg. Mariannes Gesang schwebt über Marcos perfekt ausgewogenem Arrangement - seine Produktion ist sowohl zurückhaltend als auch ausdrucksstark und macht den Song universell fesselnd, unabhängig davon, ob man Italienisch spricht oder nicht.

The Mad Geezers are basically F-Spot mainstays Night Owls’ Dan Ubick, Dave Wilder, and Roger Rivas, but with long-time friend and drum guru, Oliver Charles (Ben Harper & The Innocent Criminals, Gogol Bordello) behind the kit. It’s safe to say that these four musicians love their Ska, Rocksteady, roots, and dub, but for this lineup, the four Mad Geezers collectively decided to explore their other obsession... early Jamaican Dancehall.

First on producer Dan Ubick’s To Do list was to channel the fun, attitude, and natural talent on records by Jamaican legends like Yellowman, U-Roy, Sister Nancy, Barrington Levy, Bunny Wailer, and Freddie McGregor. Secondly, find a song that no Jamaican artist has covered, but every DJ on the planet loves, and flip it into a Dancehall groove. Hmm… What about Tom Tom Club’s “Genius of Love”? Ooh! That’s it! So, The Mad Geezers broke out synths, Syn drums, and invited some friends to the party, stepping up to the plate with the brand-new F-Spot Records 45 “Genius Of Love” b/w “Genius Of Dub (Roger Rivas Dub Version). Featuring vocals by one of Jamaica’s shining jewels, Ranking Joe & Oakland’s chosen daughter, Destani Wolf (who many will recall from top-selling Night Owls singles such as “After Laughter” and “Let’s Stay Together,”) this 7” is a sure shot.

With its iconic bass line and catchy synth hook, this 1981 decade-long crate essential is in the collective unconscious at this point. Whether you found it as a Talking Heads fan, or as a rap music fan via Dr. Jeckyll & Mr. Hyde’s “Genius Rap” or Grandmaster Flash and the Furious Five’s “It’s Nasty,” the groove is infectious. It’s hard to imagine no one had yet infused this punk-disco powerhouse with a dancehall injection… until now.