Search:a r t wilson

Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice.

Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa".

Spoken word recordings from Gregory Corso, Tina May Hall, Sam Lipsyte, Christine Schutt, Gary Lutz, Allen Ginsberg, Dawn Raffel, Jason Schwartz, Kathryn Scanlan, Scott McClanahan, & Terry Southern. About 40 years ago, in a record shop on Long Island during a weekend visit there to see my parents, i found a double-LP that looked like something i should definitely buy. It was called "BIG EGO", by the The DIAL-a-POEM POETS. On the cover was a picture of John Giorno (a great poet Ed Sanders had turned me on to) on a NYC rooftop with Philip Glass, Meredith Monk, and two kids. It cost $2. I bought it and rushed back to my parents house, where i still had my old turntable in the basement, not far from my Jimi Hendrix and Zappa Crappa posters, and my framed portrait of John Cage. My copy of Eno's "Discreet Music" was still on the turntable, having been left there years before, when i'd fled Long Island for good. I lifted it from the platter, gently slid it back into its sleeve, like a priceless religious artifact, and put Side A of the Dial-a-Poem LP on. I almost lost my mind while listening to it. The next day i went back to the same record shop looking for more DIAL-A-POEM LP's. i found two. One had a long list of names on the back, some famous, and some i'd never heard of before. I bought both LP's, and an hour later, for the first time in my life, i was exposed to the art of Laurie Anderson, whom i'd never heard of before. This was 1978. Her contribution was a piece called "Time To Go". It changed my life. Or at least, that’s how I remember it. I was just a kid, so there were a lot of moments like that, around then. Nowadays, these moments can be had in seconds, with a click of the cursor. That evening, as i sat alone by my imaginary campfire (ie; that record player in my parents basement), i promised myself that someday, somehow, i would embark upon a WORDS & MUSIC project that might move people the same way i was moved when i first heard Laurie, and Robert Wilson & Christopher Knowles, and Burroughs, and Ginsberg, and Corso, and Anne Waldman, and John Ashbery, and the great Charles Olson, and so many others. Words, for the very first time, had wielded the same power as music. And it was visceral. Just like music. It ran deep. It was a FEELING. John Giorno died in 2019, but he kept poetry alive like nobody's business. I was lucky enough to have spent some time with him in the early 1980's, when i was briefly a member of The Fugs, and often found myself surrounded by those Ginsberg called, "...the greatest minds of my generation". Ed Sanders (who'd ushered me into that scene) once told me that when he came to NYC, it was easy to go to a cafe, or to St Marks Church, and hear Burroughs, Corso, Ginsberg, and all the greats, reading their poetry. He said that even if you were just a bum on the street, you could just walk right up to them, and start a conversation. They were totally accessible, if they were in the right mood at that particular moment. So i was shocked when Sanders told me he didn't approach any of them, not even once, til he'd been going to their readings for nearly ten years. "For almost a decade, I went to every reading, every lecture, every panel discussion. But I never went near them. Never approached them. Not even once", Sanders told me. "For ten years, all I did, was listen." It took me four decades, but ... better late than never. I finally made WORDS & MUSIC, Book One.

Mondo, in partnership with Back Lot Music Wright, are proud to present the premiere physical release of the Various Artists compilation soundtrack to LAST NIGHT IN SOHO, the latest film by Edgar Wright. Featuring songs exclusively curated by Wright from his '60s-inspired film.

Wright is well known for expertly curated soundtracks and deep musical cuts, and LAST NIGHT IN SOHO – itself named for the Dave Dee, Dozy, Beaky, Mick & Tich song – is no exception. He and co-screenwriter Krysty Wilson-Cairns listened to the music he’d assembled as they wrote the script, and he put together a playlist for his cast members to listen to as they read the results.

Alongside the needledrops are three songs performed by Taylor-Joy and a score suite from composer Steven Price.

Various Artists
Manufactured in Czech Republic

Australia's biggest selling dance act and one of the most popular drum'n'bass acts of the early 21st century, Pendulum are an Australian group based in the United Kingdom. Formed in Perth in 2002, the group was originally comprised of producers Rob Swire and Gareth McGrillen, who worked in tandem with a local DJ named Paul "El Hornet" Harding. One of the team's initial releases, "Vault," became a sensation amid the drum'n'bass community in 2003, benefiting greatly from its high-profile placement at the beginning of J Majik's FabricLive mix album. In 2005, Pendulum made their full-length album debut, Hold Your Colour, featuring the singles "Tarantula" and "Slam."
Pendulum signed to Warner Music U.K. and made their major-label debut with 2007's "Granite," a Top 30 hit. Their second full-length album, In Silico (2008), spawned four singles, including U.K. Top Ten hit "Propane Nightmares". In Silico went on to reach platinum status in the U.K., as well as just missing out on the U.K. number one album chart spot. Their third album, Immersion, was released in 2010, and shot straight to the top of the U.K. albums chart. It featured collaborations with the Prodigy's Liam Howlett, Porcupine Tree's Steven Wilson, and Swedish metallers In Flames. In support of the album, Pendulum embarked on a world tour, playing two sold-out shows at London's Wembley Arena and headline slots at some of the U.K.'s largest festivals.
At the end of 2011, Pendulum took a break from live performing, with Rob Swire and Gareth McGrillen focusing their energy on their side project, Knife Party. In 2018, Pendulum returned from a seven-year hiatus, with Rob Swire, Gareth McGrillen and Paul Harding currently touring as Pendulum - Trinity.

To celebrate Billy Preston’s induction into the Rock & Roll Hall of Fame in October 2021 Apple Records and Universal Music Catalogue will be making Billy’s highly regarded 1970 album ‘Encouraging Words’ available on vinyl for a limited period. First released in the UK on 11 September 1970 the album was co-produced by Billy and George Harrison, with two of George’s songs – ‘All Things Must Pass’ and ‘My Sweet Lord’ – issued here for the first time, two months before his own recordings appeared on the triple album ‘All Things Must Pass’.In 2010 Record Collector magazine described ‘Encouraging Words’ as “one of the finest titles in the Apple Records catalogue”, while virtuoso keyboard player Rick Wakeman told BBC Radio 4’s John Wilson he considered Preston’s two Apple albums “absolute gems – a perfect combination of gospel and funk.” The album was last released on vinyl in 1992. The original album credits did not include details of contributing musicians, though the sleeve notes of the 2010 CD reissue included Eric Clapton, Klaus Voormann, Ringo Starr, Bobby Keys and the Edwin Hawkins Singers.

The brains behind People's Pleasure's soul classic, "Do You Hear Me Talking To You?", Bill Brown produced a slew of soul and funk hits in the 70s under a number of guises. For this release, P-VINE is releasing a rare singles collection of some of his most prized funk hits under his Bill Brown and the Soul Injection moniker. His rich multi-layered vocals are at the forefront of "Time after Time", the previously unissued opener to this collection, and the following tracks go from strength to strength with the pulsating modern soul track "Love Under The Apple Tree" and the cross-over title-track "Dreamworld Fantasies". Don't miss out on this opportunity to pick up a wonderful collection of rarities previously lost to the world from a master of funk and soul.

Our second LP this month is an unreleased magical modern soul LP from the band Coast To Coast, the full story below by band leader Mark Beiner...


I met Ben iverson in 1976 when I was 17 years old. I was a junior at Newtown High School in Elmhurst, Queens. At that time, I took a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson who was the "Frozen Food Manager." In between the music, this job was steady income, and he and his Wife, Diane, started a family and raised two Daughters, Tonia and Cytherea, whom I am still in contact with today.

Back then, I remember going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets." However, Ben was somewhat quiet and at a loss for words when I questioned him with regard to "Ben Iverson and the Nue Dey Express", as well as his short career as Manager and Songwriter for Brooklyn's own, "Crown Heights Affair" in the early 70's.

Between the 50's and 60's, "Ben Iverson and The Hornets" shared billing at music events with recording artists such as, The Drifter's, Bill Haley and The Comets, Pat Boone, Etta James, Mary Wells, Nancy Wilson, Jackie Wilson, Sam Cooke, Aretha Franklin, Lloyd Price and Al Green. Many of these names got their start in the 50's, which Ben met at music concert events hosted by Radio Disc Jockey, Alan Freed. Alan was truly the first Concert Promoter for Doo Wop, Rhythm & Blues, and early Rock & Roll.

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break up with my college girl friend, Paula Vasta. Paula's middle name was Marie, so in kidding around, I would call her "Paula Marie." Ben thought my lyrics were "powerful" and wanted to put them in music. Thus our first recorded 45 rpm record called "Paula Marie", backed with "I Want You Dear." This launched our musical partnership and within a year, the Coast to Coast Band was formed. Ben and I went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Woody and Jimmy used to hang and play rap in its early days with "Run DMC" in St. Albans, Queens. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, whom we lost to Testicular Cancer at the age of 25, along side Neil Levine, Stan Stockley, Tom Russo and additional members that came and went that we used for live gigs and studio recordings.

In addition, special recognition goes out to our Producer, Recording Engineer and Multi-sound Recording Studio, Owner, Dave Weiner and staff. Dave and I launched Multi-Sound Records under the Multi-Sound label in 1980.

Last, of course myself, Mark Beiner, where I served as Executive Producer, Songwriter, Business/Marketing Manager, and background vocals.

Unfortunately, Ben Iverson passed away on March 21, 2008, and cannot be here to share this with us, but his music and voice still lives on!

Following his summer anthem ‘Nah’ which has achieved 6M global streams in the first 5-weeks, Sonny Fodera announces his new album Wide Awake.

Releasing on 22nd October, Sonny gets ready for his most ambitious studio album to date. Including a variety of a-list collaborators and vocalists including Sinead Harnett, Diplo, Ella Eyre, Sam Tompkins, Dan Caplen, MK, Vintage Culture, Bru-C, and many others. Sonny is set to showcase his versatile and in-demand production palette with dancefloor weapons, crossover anthems, a touch of garage and more.

The new album will also land in the midst of Sonny’s sold-out UK and US tour, where his new album will come to life. This summer has already seen him sell 12,000 tickets at his Back To Love co-headline festival with Gorgon City in London, with more sold out shows at the likes of Liverpool’s Bramley Moore Dock, Manchester’s Victoria Warehouse, and London’s Printworks to come, as well as a double header in Los Angeles at Exchange + Academy.

With over 300M streams to his name in the past year alone, Sonny Fodera’s Wide Awake album is set to cement the elite producer and DJ’s legendary status in the dance world and beyond.

On Now Where Were We, The Exbats hit the ground running like
a dystopian garage rock version of the Shangri-Las, or like
a message to the future from the pre-Velvet Underground doowop
wannabe Lou Reed. The album rings bright, like a beacon
in the wilderness: eminently, effortlessly catchy, and loaded
with buoyant choruses that rank alongside the best chart-toppers
launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer
Inez McClain, formed the nucleus of the Exbats over a decade
ago, when Inez was just 10 years old; today, Bobby Carlson
rounds out the group on bass. Despite their remote location in
Bisbee, Arizona, just eleven miles north of the U.S.-Mexican
border, the group quickly racked up accolades citing a wealth of
influences that run from cartoon quintet the Archies to punk rock
originators the Avengers, and from the so-sweet-it-hurts 1910
Fruitgum Company to Los Angeles antiheroes the Weirdos.
Truthfully, The Exbats embrace a wider swath of musical styles,
incorporating blue-eyed soul, tongue-in-cheek country, Brit
pop, psych, and R&B into their sound.
The McClains describe this album as “more ambitious” than
its predecessors. They tooled ninety minutes northeast to Tucson
to record, per usual, with Matt Rendon at Midtown Island Studios.
Months later, the Exbats emerged with an album imbued
with harmoniously cautious optimism—the musical equivalent
but psychological antithesis to the Brian Wilson-Tony Asher
masterpiece “I Just Wasn’t Made For These Times.” While Wilson
was looking for “a place to fit in,” The Exbats have found
sanctuary via the brilliant “Ghost In The Record Store,” which
is “for all of us who need the joy of a little bit of plastic making
lots of noise.” Like the best records to croon along with, Now
Where Were We is captivatingly simple, yet hardly simplistic.
The Exbats are singing from their hearts—and they aren’t afraid
to bare their souls.

Ein Weihnachtsalbum zwischen sentimentalen Pop-Balladen, Witz, Swing und Charme präsentiert Darren Criss, multitalentierter Sänger, Songwriter, Emmy- und Golden-Globe-prämierter Schauspieler und
Broadway-Star. Seine Fans lieben den gutaussehenden jungen Mann für seine Rollen in ”GLEE”, ”VERSACE: AMERICAN CRIME STORY” oder ”HOLLYWOOD”.
Jetzt erfüllt sich Criss einen Wunsch mit einem Weihnachtsalbum, das zwischen Pop und Swing a’la
Dean Martin allerbestes Entertainment unter dem Weihnachtsbaum verspricht. Sein erstes Album in voller
Länge besteht aus Originalsongs und kreativen Neuinterpretationen klassischer Weihnachtshits. Als Gäste
hat er Adam Lambert, Lainey Wilson und Evan Rachel Wood zur Weihnachtsparty geladen.

First new release from Lizard Music in over two decades Since their hiatus, band members have joined Wilco, become the musical director for Cat Power, been a featured guest on RuPaul’s Drag Race, and worked with artists including Lana Del Rey, Brian Wilson, The Monkees, and more! Available on CD, Digital, and double-LP What Lizard Music says about Arizone! This collection of buzzy, whirly pop songs from a parallel dimension is a testament to Martin Short, Martin Sheen, Sheena Easton, Tina Turner, and Tiny Tim. Arizone! is better than discovering never-before seen discs for a View-Master. Arizone! is the sound of four old friends who spent their formative years playing music, traveling, and learning about the world, reuniting after a 25 year hiatus to compare notes and wound up with a one-way ticket to Arizone! Lizard Music began in Atlantic Highlands, NJ in 1989 when high school friends Mikael Jorgensen and Erik Paparozzi started learning and writing songs with a four-track. They pillaged their parents' record collections and discovered the musical universes of The Beatles, Frank Zappa, Captain Beefheart, XTC, James Brown and The Meters. In the fall of 1990, Lizard Music (named after the book by Daniel Pinkwater) was hired to be the backing band for David Peel and The Lower East Side at the recently-closed Brighton Bar in Long Branch, NJ, which would serve as the unofficial home base for the band for the next five years.

Brian Owens is a soul singer, a writer and a dedicated community activist from Illinois, USA.
At Visions HQ they fell in love with his album” Love came down” from 2019, and in particular with the 2 tracks “Sparrow “and “Cool water“ ( unreleased before on vinyl ).
They got in touch with him and after nice chats and lovely exchanges, they decided to licence these two soul gems and give them a new life on a proper 2x 12” with a new mastering and some great remixes from the likes of Kaidi and Dego, Soul Supreme and Sohan Wilson.
These new versions are wonderful and kept the essence of Brian’s music but what is amazing too is to have the original versions on one side for maximum quality and loudness play. This is music, pure new soul with the respect of tradition of the 70’s soul music that we love.
The first edition with full sleeve designed by Angelo Benedetto is limited to 300 copies only. Collector’s item here, don’t sleep!

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

Technical Ecstasy by Black Sabbath, limited edition, remastered, new mix, 90 mins of unreleased outtakes, alt mixes, live tracks from Ozzy, Tony, Geezer and Bill plus extensive book, tour program and poster. LP set on 180g vinyl.



In the summer of 1976, Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward headed to Miami to record Technical Ecstasy at the famed Criteria Studios. The band was coming off a world tour for their previous album, Sabotage, that had found their live performances evolving to include keyboards and synthesizers. These newly incorporated instruments and sounds were then introduced into the recording process on Technical Ecstasy. The new songs encompassed a wide range of styles from the hard charging “Back Street Kids” and single ballad “It’s Alright,” to the funky “All Moving Parts (Stand Still)” and progressive rock “Gypsy.” The Deluxe Edition presents a newly remastered version of the eight-track album, along with an entirely new mix of the album created by Steven Wilson using the original analogue tapes.



With eight previously unreleased outtakes and alternative mixes. Among those are different mixes of “You Won’t Change Me” and “Rock ’n’ Roll Doctor,” as well as both outtake and instrumental versions for “She’s Gone.” The collection concludes with 10 previously unreleased live tracks recorded during the 1976-77 World Tour. The songs touch on different eras of the band’s history with early tracks like “Black Sabbath”, “War Pigs” (from Paranoid), “Symptom Of The Universe”, “Snowblind” and “Children Of The Grave” alongside new songs “Gypsy” and “Dirty Women.”



The collection comes with an extensive hardback book featuring artwork, liner notes, rare memorabilia and photos from the era, plus a replica of the 1976-77 world tour concert book and a large colour poster of the iconic Hipgnosis (Storm Thorgerson/Aubrey Powell/Peter Christopherson) futuristic robots image which is perfect for framing.



Black Sabbath embraced change in 1976 when the heavy metal innovators started managing themselves and began exploring different sounds on the band’s seventh studio album, Technical Ecstasy.



BMG honours this daring album with a collection that includes a newly remastered version of the original, a brand-new mix by Steven Wilson, plus more than 90 minutes of previously unreleased outtakes, alternative mixes and live tracks. TECHNICAL ECSTASY: SUPER DELUXE EDITION will be available as a 4CD box set and 5LP box set on 180g black vinyl.



Contents:



Vinyl box set includes:

Original album newly remastered
New Mix LP
Outtakes and Alternative Mixes LP
2LP live concert from the World Tour 1976 - 77
40-page book with photos, artwork and liner notes
Technical Ecstasy colour poster

Released via Columbia Records in the UK, 'Respect' is a 2021 American biographical musical drama film based on the life of American soulk legend Aretha Franklin. Directed by Liesl Tommy (in her feature directorial debut) from a screenplay written by Tracey Scott Wilson, the film stars Jennifer Hudson as Franklin. Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, and Mary J. Blige are featured in supporting roles. The CD was released in mid August. This is the 21 track double vinyl format with songs featured in the film, including one new original track produced by Will I Am. Continued promo/marketing activity across all media outlets (for both film and soundtrack).

Vinyl Only

2021 sees the launch of acid centric label Techno House Connoisseurs. The new imprint's debut features a wide array of acid inspired gems showcasing artists Jared Wilson (of 7777, I love Acid, Dixon Ave Basement Jams and Super Rhythm Trax, Mr.Barcode (aka Jay Tripwire) from Witching Hour, Wicked, Poker Flat, Superfreq. Praus of Paper, Night Noise, Leng and lastly label head Space Ace of Kiko Recordings. f you like acid with your beats then look no further.

BARBARA JEAN ACKLIN was working as a receptionist at Brunswick Records in 1966 when she co-wrote “Whispers (Getting Louder)” which became one of Jackie Wilson’s biggest hits and secured her a recording contract with the label. In 1968 she hit with “Love Makes A Woman” peaking at #15 on the Billboard pop chart. “Am I The Same Girl” followed in ’69 barely breaking the Hot 100. Dusty Springfield covered the song later that year giving the singer her final chart hit, peaking at #43 in the UK. Salena Jones cut a credible jazzy interpretation in 1970 and the British pop group Swing Out Sister scored a #21 UK hit in 1992 after first hearing the song in a Manchester Northern Soul club.
Brunswick producer Carl Davis was inspired to remove Acklin’s vocal and replace it with a piano solo shortly after the original release. He called the instrumental “Soulf Strut” and attributed it to Young-Holt Unlimited providing them with a #3 hit in the USA.

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

Was zur Hölle ist Country Funk? Eine berechtigte Frage. Die Antwort ist kompliziert, was zum Teil daran liegt, das Country Funk ein trotziges Genre ist, das sich allen Bemühungen einer Klassifizierung erfolgreich entzieht. Der Stil umfasst die positive Attitüde des Gospel und vereint sie mit der sexuellen Forschheit des Blues; die Harmonie des Ländlichen (=Country) trifft auf die harten Seite des Urbanen. Country Funk ist abwechselnd spielerisch und melancholisch, zwischen langsamen Jams und zündenden Arschwacklern. Er ist zugleich im Studio poliert und an der Theke gegrölt. Und während diese Kombinationen unmöglich erscheinen, macht bei näherem Hinhören alles Sinn. Light In The Attic präsentert ,Country Funk 1969-1975", einem Schmelztiegel mit der Musik von Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz und Johnny Jenkins. Dazu gesellen sich extensive Linernotes von Jessica Hundley (MOJO, The New York Times, Vogue), Originalartwork der ursprünglichen Alben und neue Illustrationen von Jess Rotter. Dieses Paket ist nicht nur Balsam für die Ohren, sondern auch ein Fest für die Augen. Stellt Euch ein Wunderland vor, in dem die METERS aus der Josie-Ära die Backing Band eines jungen ELVIS sind, der von KRIS KRISTOFFERSON geschriebene Melodien über das bäuerliche Leben in Amerika singt. Hier beginnt das Territorium des Country Funk. Alle Tracks sind neu gemastert. Mit 24-seitigem Booklet und raren Tracks von Bob Darin, Gray Fox, Dennis The Fox, Cherokee, Gritz und vielen anderen.

76 is the debut studio album by Dutch trance DJ Armin van Buuren. Named after the DJ’s year of birth, the album was released shortly after he also celebrated the 100th episode of his radio show A State of Trance. Van Buuren was voted the No. 3 DJ in the world by DJ Mag that same year; a chart that he would eventually top five times. 76 contains collaborations with the likes of Scottish singer Ray Wilson, Dutch pop band Krezip, fellow trance DJ Ferry Corsten and others. Two singles were released: “Yet Another Day” and “Burned With Desire”.

This 2-LP package comes in a gatefold with a spot varnish. It contains an insert and features secret inscriptions in the run-out groove. It is released as a limited edition of 2500 individually numbered copies on transparent blue vinyl.

• Although the album was produced by David Tickle, Belinda’s sole album for the Chrysalis label in 1996
saw her re-united with the writers of her biggest chart successes, Rick Nowels, Ellen Shipley and fellow
Go-Go Charlotte Caffey. Nowels’ “In Too Deep” reached # 6 and Roxette’s Per Gessle’s “Always
Breaking My Heart” was another Top 10 hit. “Love In The Key Of C” followed them into the charts,
while the fourth hit “California” features backing vocals from none other than Brian Wilson.
• The two bonus LPs feature seventeen tracks: non-album B-sides, including covers of “Jealous Guy” and
“The Ballad Of Lucy Jordan”, plus “I Won’t Say I’m In Love” – Belinda’s contribution to the soundtrack
of the Disney film “Hercules”, a cover of the Sex Pistols’ “Submission” recorded with Radiator for a
compilation album, plus live and acoustic versions of her earlier hits, and three very rare remixes.
• This anniversary box set contains three LPs pressed on 180g vinyl, in individual outer and inner sleeves,
plus a 12 x 12 booklet, all in a lift-off lid box.


















r d1. Remember September JPO Club Pipes
[s] d2. Remember September [Beam’s Club Mix]
[t] d3. Remember September [Beam’s Vocal Mix]
[u] e1. Big Scary Animal [live]
[v] e2. I Get Weak [live]
[w] e3. Leave A Light On [live]
[x] e4. Live Your Life Be Free [live]
[y] f1. In Too Deep [live]
[live]
[xa] f3. In Too Deep [acoustic live version]
[xb] f4. Circle In The Sand [acoustic live version]

As GospelbeacH continues to work on the follow-up to their third and most successful studio album LET IT BURN (2019) they are back to raise the vibrations and celebrate the good times with a little
detour through the past.
With the founding of CURATION RECORDS Chief Curator and GospelbeacH leader Brent Rademaker found himself surrounded by a room of over 1,200 60s/70s Glam Rock/Bubble Gum/Sunshine and Power Pop 45s owned by his record label partners.
Back in Mono Deluxe studios with his GospelbeacH brother Jonny Niemann
at the production controls they enlisted the well-seasoned and in-demand
rhythm section of Bob Glaub and Don Heffington that had worked with their
dear departed guitarist Neal Casal on his solo albums as well as Los Angeles
heroes Warren Zevon, Jackson Browne, Don Henley, Lone Justice and even
Sprinsgteen and Dylan.
Adding the Sunshine harmonies once again Nelson Bragg from the Brian Wilson/BeacH Boys Band.

Transmission Reissue Of Porcupine Tree Rarity Featuring Recordings From
The ‘Stupid Dream’ & ‘Lightbulb Sun’ Sessions
Having recently announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue will roll out throughout 2021.
Originally issued in 2001 as a limited-edition release, this highly sought-after
album features songs written during the Stupid Dream and Lightbulb Sun sessions, including ‘Buying New Soul’ and ‘Ambulance Chasing’.
Porcupine Tree released their last album, ‘The Incident’, in 2009, marking another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.
This new Transmission 2021 reissue of ‘Recordings’ remains faithful to the original artwork and comes in a digipack with 8-page colour booklet or gatefold
sleeve.

• Although the album was produced by David Tickle, Belinda’s sole album for the Chrysalis label in 1996
saw her re-united with the writers of her biggest chart successes, Rick Nowels, Ellen Shipley and fellow
Go-Go Charlotte Caffey. Nowels’ “In Too Deep” reached # 6 and Roxette’s Per Gessle’s “Always
Breaking My Heart” was another Top 10 hit. “Love In The Key Of C” followed them into the charts,
while the fourth hit “California” features backing vocals from none other than Brian Wilson.
• The two bonus LPs feature seventeen tracks: non-album B-sides, including covers of “Jealous Guy” and
“The Ballad Of Lucy Jordan”, plus “I Won’t Say I’m In Love” – Belinda’s contribution to the soundtrack
of the Disney film “Hercules”, a cover of the Sex Pistols’ “Submission” recorded with Radiator for a
compilation album, plus live and acoustic versions of her earlier hits, and three very rare remixes.
• This anniversary box set contains three LPs pressed on 180g vinyl, in individual outer and inner sleeves,
plus a 12 x 12 booklet, all in a lift-off lid box.


















r d1. Remember September JPO Club Pipes
s d2. Remember September [Beam’s Club Mix]
[t] d3. Remember September [Beam’s Vocal Mix]
[u] e1. Big Scary Animal [live]
[v] e2. I Get Weak [live]
[w] e3. Leave A Light On [live]
[x] e4. Live Your Life Be Free [live]
[y] f1. In Too Deep [live]
[live]
[xa] f3. In Too Deep [acoustic live version]
[xb] f4. Circle In The Sand [acoustic live version]

Fragments, The Debut Album From Trifecta (Beggs, Holzman, Blundell)
Trifecta, a new addition to the Kscope roster, features 3 of the contemporary
music scene’s most lauded and revered musicians - bassist and songwriter Nick
Beggs, keyboardist extraordinaire Adam Holzman and completing the line-up,
Craig Blundell - one of the world’s most celebrated drummers.
Having performed together as part of Steven Wilson’s band, the three would
jam together after soundchecks and from these sessions the fledgling ideas for
Fragments were born. Nick Beggs comments “after the last tour with Steven
finished, we had a handful of tracks ready to work on and as we moved through
our various separate projects we agreed to work on Trifecta.”
The record primarily leans toward a fusion of jazz rock, being instrumental except for the first single (the wonderfully titled “Pavlov’s Dog Killed Schrodinger’s Cat”), the lyrics of which, Beggs states, “are written from the perspective of
a layman trying to understand quantum mechanics...and failing.”
Each band member completed the recording and engineering of their own
contributions in their various home studios, helping to bring their individual
production ideas to each track. Adam Holzman mixed the record at his New
York home studio with the mastering handled by Andy VanDette (Rush, David
Bowie, Deep Purple, Porcupine Tree, Beastie Boys) in New York.
Asked what fans of the musicians can expect from Trifecta, Beggs says, “Fission!
It’s like Fusion but less efficient and more dangerous.”
The debut album resulting from this “fission” of these extraordinary musicians
is entitled ‘Fragments’ and will be released on Kscope on 20th August 2021.

“an aggressively modern merger of Rush’s arena art rock, U.K. prog
classicism especially Pink Floyd and King Crimson and the post-grunge
vengeance of Tool” Rolling Stone
Having recently announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s extensive catalogue will roll out throughout 2021.
Originally released in 2007, ‘Fear Of A Blank Planet’ was Porcupine Tree’s ninth
studio album. It was the band’s biggest selling album at the time, was their first
album to break into the Billboard top 100 in the USA as well as charting across
Europe, earned the band a Grammy nomination and has been featured in Rolling Stone Magazine’s Greatest Prog Albums Of All Time.
‘Fear Of A Blank Planet’ was an ambitious 50-minute piece of music made of
6 tracks that flow together to create a cohesive whole, the British art-rockers
Porcupine Tree created a concept album based on the Bret Easton Ellis novel
‘Lunar Park’, with lyrics that addressed how the adolescent protagonist battled
his bipolar and attention-deficit disorders with a regimen of prescription drugs
and Internet overstimulation.
The music used sprawling vocal melodies, atmospheric guitars and drums that
tumbled through chaotic passages to echo the main character’s manic-depressive states. ‘Fear Of A Blank Planet’ features guest appearances from Robert
Fripp (King Crimson) & Rush guitarist Alex Lifeson.
Porcupine Tree released their last album, ‘The Incident’, in 2009, marking another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.
This new Transmission version of ‘Fear Of A Blank Planet’ will be released as a
2LP gatefold 140gm edition.
“a dramatic, wide-screen, expertly executed, genuinely thrilling rock record” Q
Magazine

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Lift-top box including the first 10 numbered records and objects, with a 60-page exhibition style book, plus a bonus 12” single and 2CDs of unheard Joy Division interviews. Strictly limited and numbered to 4000 units WW.

Use Hearing Protection: Factory Records 1978-1979 contains facsimile editions of the first 10 numbered Factory items: 4 vinyl records, 3 posters, a short film, Factory stationery and an egg-timer design. The early history of the label is traced in a 60 page book with text by James Nice, photos by Kevin Cummins and archival interviews with Tony Wilson, Rob Gretton, Joy Division and more.

All 3 original Factory posters are contained in the box as well as the first 4 records: The Factory Sample EP (Fac 2), including the Fac2 stickers, All Night Party by A Certain Ratio (Fac 5), Electricity by Orchestral Manoeuvres in the Dark (Fac 6) and classic album Unknown Pleasures by Joy Division (Fact 10).

Bonus items include a white label 12” single by The Tiller Boys (originally intended as FAC3 but ultimately not released), and a lengthy audio interview with Joy Division, Tony Wilson and Rob Gretton, conducted in August 1979 by journalist Mary Harron, never before heard and now restored across two CDs. Also newly restored, and seldom seen since 1979, is evocative 8mm short No City Fun (Fac 9), featuring music by Joy Division.

Cut Ups was produced by the band and Geoff Sanoff (Nada Surf, Luna, Jets To Brazil) at Renegade Nation Studio in New York City with additional recording done by the band at their Brooklyn practice space and homes. This is an album for listeners who don't seek authenticity, but intuitively know it when they hear it; for people who are interested in language and sound. This is not lifestyle marketing. This is not going to cover your bald spot or shrink your waistband. This is not this year's model. Or last year's model dressed up as tomorrow's hope. This is the sound of four adult men in Brooklyn, New York, sharing their world as they see it. They are not afraid to write about politics or personal failings. They are not afraid to celebrate love. Or yearn for a better world. They may be cut up, but they are here to stay. For those who need references, the band suggests Neu!, The Gun Club, Agent Orange, The Fall, Magazine, Love, Mission of Burma, Gang of Four, The Byrds, Television and dub music, spy movie soundtracks, international folk music, free jazz, spoken word, comedy, food, travel, books, and just trying to sustain humanity in an increasingly hostile world.

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

Arthur Satan from French garage psych rock band J.C. Satan’s debut solo album on Born Bad.
The distinctive backing choirs on “Free” are reminiscent of an encounter between the Pole Krzysztof Komeda (“Fearless Vampire Killers”, the soundtrack of
“Rosemary’s Baby”) and the American collective Elephant 6 (the Apples in Stereo, Elf Power, Neutral Milk Hotel, of Montreal, The Olivia Tremor Control etc.)
“The Nap” is teatime: Arthur’s the host, John Fahey the guest.
“Summer” starts off like a lullaby on the metallophone and evolves into something of a Donovan song, minus the unexpected crankshaft solo.
“Love bleeds from you neck” is somewhere between acid folk song and medieval lament.
“Time Is Mine” might be the track most evocative of J.C. Satàn… Though actually all the tracks on ‘So Far So Good’ hover between tradition and modernity,
obscure sunshine pop, good old classics and weird experiments.
“She’s Long Gone” evokes Brian Wilson’s Beach Boys roaming through the English countryside looking for the perfect cottage

Hell Yeah's debut Buena Onda compilation proved hugely successful. It also kept people drenched in exotic dance floor sounds while the pandemic has kept everyone apart. Now the Berlin-based party is back and on a mission to redefine what Balearic means with a first-ever vinyl-only sampler featuring exclusive, unreleased tunes and remixes compiled by Marco Gallerani and Gallo from brothers around the world.

The a-side is all about new kids on the block: Australian cyborg disco don Kayroy appeared on the label in 2020 with his Imaginary Expeditions EP and now links with his friend Jaspar Robinson, a dreamer with his head amongst the stars. He provides the vocals which speak of an astronaut lost in space and aching for a missing loved one while sombre chords and downbeat bass make for a beautifully longing groove. It's a blue-eyed Balearic classic. The up-and-coming Italian Feel Fly of labels like Internasjonal then goes widescreen with his 'Esperanto.' The chords shimmer, the baseline percolates and the guitar riffs arc up to the heavens for some late-night intergalactic bliss.

The flip side features more mature and established artists: label regular Max Essa offers a remix of The Vendetta Suite 'Neon Secrets,' which has naive Eastern melodies and rueful 80s chords with a subtle new age feel that dumps you right on the beach at sundown. Last of all come Chris Coco and Micko Roche with true-school Balearic classic complete with cicada-like shakers, mellifluous Spanish guitar licks, flutes and soft, frothy, rolling beats that break like waves on a sun-kissed Mediterranean coastline.

Balearic Beats 2021 Sampler 1 offers something for every hour of the day, making this a perfectly functional 12" for the modern Balearic DJ.

Support by Prins Thomas, Calm, Chris Coco, Andy Wilson (Ibiza Sonica), Pete Gooding, Severino (Horse Meat disco), Will Nicol, Phil Cooper, Leo Mas, Mike Salta, Balearic For You, Jon Sa trinxa

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.