Buscar:black time

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

(Clear with black, white & yellow splatter limited to 500 copies) SKA DREAM is a complete re-recording of Jeff Rosenstock's critically-acclaimed 2020 record NO DREAM however this time around all the songs are ska songs you're welcome. The very good idea to make this record came together when, like many other bands throughout this pandemic that refused to participate in super spreading events, we were trying to find a fun way to make some music together to share with people. Otherwise we were just spending our evenings texting the group chat in dread about the collapsing world around us. Not the most fun band activity. As with most things ska in my life, what started out as a fun goof with friends eventually morphed into "Hey, what if we tried to make it good though?" All of us have a pretty deep history playing and touring the country in punk/ska bands. We all understand the stigma that comes along with ska, we've all dealt with the pitfalls of it, and we've all kept on truckin' regardless. If you are one of those people who loves music as long as it isn't ska, that's cool, we see you. This record isn't for you and you don't have to listen to it. Byeeee. Okay, everyone else, we see you too, we love you and check it out, SKA DREAM is real. This record includes contributions from Jer Hunter (JER, Skatune Network, We Are The Union), Rick Johnson (Mustard Plug), Laura Stevenson, Ara Babajian (The Slackers, Leftover Crack), Boboso, Sean Bonnette (AJJ), George Clarke (Deafheaven), David Combs (Bad Moves), Chris Farren, Augusta Koch (Gladie, Cayetana), Angelo Moore (Fishbone), Franz Nicolay, nonregla, Elise Okusami (Oceanator), Mike Park (Bruce Lee Band, Skankin Pickle, Asian Man Records), PUP, Anika Pyle (Katie Ellen, Chumped) & Shannon Toombes.

2024 sees the release of Georgia’s fourth studio album - Cool Head. Written in the year after her husband and collaborator was taken seriously ill, Georgia describes the album as a long drive through night into morning. "Cool head," a phrase her dad would always use to urge calm thinking, presents a candid and affecting collection of songs, spanning wide-open Americana to 60s- influenced folk ballads. Recorded in Sain studios, near Caernarfon, the album features contributions by Iwan Huws (Cowbois Rhos Botwnnog), Stephen Black (Sweet Baboo), Gwion Llewelyn (Aldous Harding) and Rhodri Brooks (Melin Melyn). With Gorky's Zygotic Mynci stalwart Euros Childs adding his unmistakable vocals to a couple of songs, this is a truly Welsh affair. It also features string arrangements by Gruff Ab Arwel, whose ear for melody brings a new dimension to the songs. These are performed by Angharad Davies, Angharad Jenkins and Patrick Rimes. The album is co-produced with long-time collaborator Iwan Morgan

Malmö’s Mod Sens arrives on Programm LDN with an electric intersection of soundsystem styles and taut techno and electro. Pushing inventive, bassweight dance music through his Melt club night in the city he calls home, the wildly talented Swedish producer brings an international outlook to his subtly crafted workouts.

“These four tracks were all made at a time in Malmö when electro was completely dominating the underground scene,” says Mod Sens. “That had a strong influence on the creation of these tracks, but I was definitely more urgent to create my take on ‘UK’ Sounds.”

The sound on Misperceptions EP is introspective by design, cast in melancholic pads which balance the rugged impact of the crafty drums and upfront low-end. Mod Sens himself describes exploring the tension between wanting to run and feeling ‘stuck’, and that yearning sensation culminates in four elevated cuts that uphold Programm’s commitment to advancements in club music.

Visual director Blackwall and graphic designer Alfie Allen responded to the tangible mood of the EP, resulting in an accompanying visualiser and sleeve design which round out the emotion Mod Sens was reaching for while working on the music. As a complete package, it’s an audio-visual statement which leaves a lingering impression, as any art worth making

Cyberphunk is a journey through the universe of electronic music, across the galaxies of Electro and Breakbeat, to contemplate how the explosion of Acid, SubBass and Breaks supernovas is absorbed by black holes of energy, leading us to the mysticism of Cosmic Singularity.

CALAGAD 13 is a DJ and producer involved in the Electro & Breaks scene. With a versatile style, his sessions encompass genres ranging from Funk, Rap, and Ragga to Electro, Breakbeat, Jungle, and D&B.

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Can be either blue or black.

Originally a club hit in the early 1980s when recorded by American singer Sharon Brown, the niece of songwriter Phil Medley. Released in March 1982, by the legendary Profile Records label from NYC. It was the he first ever record produced by Eddie O Loughlin who would later establish the famous Next Plateau label. “I Specialize In Love” spent three weeks at number two on the US Hot Dance Club Play chart. The single also charted on the UK Singles Chart, and charted In the Dutch Top 15 thus becoming an international club hit. A remixed version of the song was released in 1994, entering the UK Singles Chart for a second time.

Ben Liebrand now steps up and delivers yet again with his Classic Rework and the more club oriented DJ Mix. He manages to retain the pure disco vibe of street and fusion sounds, that, along with a simple rap is total boogie pop. Fantastic and still sounding as fresh as it did forty years ago. A filler on the Dancefloor!

Malcolm McLaren, New York Dolls and Sex Pistols’ manager, writer, musician, fashion designer, marked the history of pop culture. His album “Paris” released in 1994 on the French Vogue label was produced by Robin Millar (Sade, The Style Council, Everything But The Girl). This is the first time the album has been available on vinyl and arrives a few weeks before the opening of Paris Olympic Games which should see lead track ‘Paris Paris’ with Catherine Devenue on vocals widely referenced. Also features Francoise Hardy & Amina. This is a x19 trk double Black LP Vinyl in gatefold sleeve. Promo & marketing activity..

Great modern roots tune from Frankie Diamond of Still Cool, with rhythm by his long time collaborators Carl "Stereo" Fletcher and Pablove Black. The vocal saw very limited release on JA 45 back in the late 00's, the version side is now released for the first time ever.

Powered by the massive hit single “No Diggity,” (which sam- ples Bill Withers’ “Grandma’s Hand”) featuring Dr. Dre and Queen Pen, Another Level is arguably the best album created by Teddy Riley, the leader of Blackstreet. Riley is a very influ- ential producer, known for inventing a whole new sound, a combination of soul harmonies, rap breaks and hip-hop beats called new jack swing.

Another Level is the second album by the American R&B group. Released in 1996, it reached #3 on the Billboard 200 albums chart, and #1 on the Top R&B Albums chart for five weeks and has sold over 4 million copies. This was the first album with new members Eric Williams and Mark Middleton. They joined the group after replacing departed members Dave Hollister and Levi Little.

Another Level is available on black vinyl and includes a 4-page booklet.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Enjoy The Ride Records, in conjunction with Paramount Music proudly presents Star Trek: The Motion Picture – The Director’s Edition, Music Composed and Conducted by Jerry Goldsmith.

Jerry Goldsmith's iconic score to the 1979 film has been restored, remixed, and mastered from the first-generation multi-track masters by Bruce Botnick (Original album Executive Producer and Goldsmith's long-time engineer). Mike Matessino co-produced the album with Botnick, handling the restoration, editing, and track assembly.

With over 80 minutes of music, Star Trek: The Motion Picture – The Director’s Edition is available on vinyl for the first time in this definitive assembly. Pressed on 2xLP 140g colored vinyl and housed in a high gloss gatefold jacket with black poly-lined inner sleeves, there is also a double-sided full-color insert nestled inside.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

In 1980, the English rock band The Only Ones released their third and final studio album Baby’s Got A Gun. While they produced the previous two albums, for Baby’s Got A Gun they joined forces with the acclaimed producer Colin Thurston, who is best known for his work with Duran Duran, Talk Talk, and The Human League among others. The album features guest performances by lead vocalist of Penetration, Pauline Murray, on the tracks “Fools” and “Me And My Shadow”. “Fools” is the only time that the band had released a cover version, which is originally a song by American country musi- cian Johnny Duncan. Two years after the album release, The Only Ones officially disbanded.

Baby’s Got A Gun features remastered audio and is available as a limited edition of 1000 individually numbered copies on silver & black marbled vinyl.

Sugaray Rayford is a man with a message and a larger than life personality and voice to deliver it

Working with producer, songwriter Eric Corne for the past 3 albums, the soul-blues powerhouse has crafted an incendiary sound and narrative, combining classic soul melodies and funky R & B grooves with raw blues power.

The pair's first collaboration, 'Somebody Save Me', earned Rayford a 2020 Grammy nomination. Later that year he took home Blues Music Awards for 'Soul Blues Male Artist' and 'B.B. King Entertainer of the Year.' Rayford's follow up In Too Deep won a plethora of awards including the Blues Music Award for 'Soul Blues Album of the Year'.

His new release is entitled 'Human Decency'. The title track is a simple reminder that our similarities are stronger than our differences and in the end, there is no black or white or left or right, there are only hearts and minds.

About the leadoff single, "Run For Cover" a song that takes no prisoners, Q Magazine declares, "The bluesey soul of Rayford comes on full steam with this powerhouse single."

"We're calling people on their bullshit but we're having fun with them. That's my way. I'm gonna tell it to you straight but with love in my heart. I always bring some suga with the salt!" says Sugaray, bellowing with laughter.

An all-star cast lent their talents to the album, including guitarist Rick Holmstrom and singer Saundra Williams who are both from Mavis Staples's band, along with bassist Taras Prodaniuk (Lucinda Williams, Merle Haggard).

Tunnel Blanket delivers the epic-in-scope soundscapes that followers of its makers' previous recordings are accustomed to, but presents them in new lights - where once the sun shone down bright upon immediate tropes and traits, now their work is better suited to distant starlight, casting changeable shadows across vistas of inspired, ambitious amplification. This is not an album to pick through in search of bold hooks and instant melodies. It is an ever-shifting, always moving work, which seems to evolve before the listener - spidery guitar lines feeling their way forth like vines scrambling up trunks in time-lapse photography.

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Enjoy The Ride Records in conjunction with Lionsgate proudly present Cube Original Motion Picture Soundtrack. Composed by Mark Korven (The Witch, The Lighthouse), this is the first time Cube Original Motion Picture Soundtrack has been available on vinyl. Cube is a late 90s Sci-Fi Horror film that follows a group of people through cube-shaped rooms, and has become a cult classic since its release.

Cube Original Motion Picture Soundtrack has been pressed at 45 RPM and has a custom Cube Door B Side Label. This release also includes unreleased bonus tracks and comes housed in black poly-lined inner sleeves. The jacket features the iconic poster art on the cover, with back cover art designed by Steven Wild.

Continuing the re-issue program on STD Black LP - Rolling Stones No.2 - The second UK Rolling Stones studio album, released in 1965 following the success of their 1964 debut album The Rolling Stones. A huge success in the UK, the album was number one on the charts for 10 weeks and includes the band’s cover of ‘Time Is On My Side’ and ‘Everybody Needs Somebody To Love’. The album also contains three compositions from the still-developing Mick Jagger/Keith Richards songwriting team (‘What A Shame’, ‘Grown Up Wrong’ and ‘Off The Hook’), with all the other songs being covers of American R&B and rock and roll numbers, like the first album. December’s Children (And Everybody’s) US - The fifth American studio album, released in December 1965. The last Stones album in which cover material accounted for 50 percent of the content was compiled from a variety of singles, British LP tracks, outtakes, and a cut from an early 1964 U.K. EP. The album demonstrates the continuing development of Jagger & Richard’s songwriting with a further two pop classics – the string-laden affecting ballad – ‘As Tears Go By’ and ‘Get Off My Cloud’.

Continuing the re-issue program on STD Black LP - Rolling Stones No.2 - The second UK Rolling Stones studio album, released in 1965 following the success of their 1964 debut album The Rolling Stones. A huge success in the UK, the album was number one on the charts for 10 weeks and includes the band’s cover of ‘Time Is On My Side’ and ‘Everybody Needs Somebody To Love’. The album also contains three compositions from the still-developing Mick Jagger/Keith Richards songwriting team (‘What A Shame’, ‘Grown Up Wrong’ and ‘Off The Hook’), with all the other songs being covers of American R&B and rock and roll numbers, like the first album. December’s Children (And Everybody’s) US - The fifth American studio album, released in December 1965. The last Stones album in which cover material accounted for 50 percent of the content was compiled from a variety of singles, British LP tracks, outtakes, and a cut from an early 1964 U.K. EP. The album demonstrates the continuing development of Jagger & Richard’s songwriting with a further two pop classics – the string-laden affecting ballad – ‘As Tears Go By’ and ‘Get Off My Cloud’.

Colored edition : Black & Silver vinyl. Standard edition is sold out.

Official reissue. New remastering vinyl of the 1979 LP by Colin Potter + "silver edition" Gatefold cover + complete NWW list on Gatefold inner


Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album by British experimental unusual and absurd music group Nurse With Wound, released on their own United Dairies label in 1979. An unusual record which blends noise and jamming.

The album's equally unusual title is a quote from the surreal, poetic novel Les Chants de Maldoror by Uruguayan-born French author Isidore-Lucien Ducasse, written under the pseudonym Comte de Lautréamont.It has been included in the "100 Records That Set the World on Fire (While No One Was Listening)" by TheWire in 1998, and is one of the records that have had a lasting impact on avant-garde, experimental and psychedelic music.It was on this record that the famous "NWW list" appeared for the first time, featuring dozens of names of musicians and groups who had influenced Nurse With Wound - a list that now serves as a treasure map for many collectors of the genre and fans of outsider music. It's been replicated here in the innersleeve of the gatefold.

It got away! The hounds are back on the leash for another session, as Montel makes a bid for better days with this all-out charm offensive of serenades, blissed up patter and emotional blackmail, Palmer-style.

The result is 12 tracks steeped in mind games, romance power plays and neurotoxin rollercoasters, with additional bonus strategies to dissociate with minimum dignity.
Big up Kiwi’s Kiosk..

U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.

After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.

From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.

Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.

Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.

Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

2024 Reissue

Limited Clear w/ Silver Splatter vinyl. 15 years after the band's debut album was release, Sargent House is set to do a special anniversary re-issue with updated artwork and limited-edition clear w/ silver splatter vinyl with Silver/Red foil jacket available. Upcoming tour dates include multiple festival appearances and a UK/EU headline tour in August. 12th Nottingham Rescue Rooms, 13th Manchester Gorilla, 14th London Underworld, 15th Bristol ArcTanGent. For Fans of Fu Manchu / Melvins. This the debut is being repressed. Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense.

Roy Orbison was an American singer, songwriter, and musician known for his impassioned singing style, complex song structures, and dark, emotional ballads. Orbison's music is mostly in the rock genre and his most successful periods were in the early 1960s and the late 1980s. He performed with minimal motion and in black clothes, matching his dyed black hair and dark sunglasses. His nicknames were "The Caruso of Rock" and "The Big O". On this LP a selection of his 60’s hit singles including "Only the Lonely", "Running Scared", the ballad "Crying", the swinging rockabilly "Ooby Dooby", and "The Great Pretender”.

"Pretenders ‘Learning To Crawl’ is to be reissued on standard black vinyl and clear vinyl for RSD Stores & HMV on 7th June 2024. Celebrating the album's 40th anniversary, this reissue is true to the original 1984 release with the artwork and tracklisting remaining the same. This pressing of ‘Learning To Crawl’ features 2018 remastered audio by the album’s original producer, Chris Thomas, on vinyl for the first time.

‘Learning To Crawl’ is Pretenders’ third album, released after a band hiatus which saw in this time the sad passing of guitarist James Honeyman-Scott and bassist Pete Farndon before recording started. It sees an assortment of guitar and bass players on the record before Robbie McIntosh and Malcolm Foster joined Chrissie Hynde and Martin Chambers making the band a four piece.

The 1984 album is certified Gold and Platinum in the UK and US respectively and reached #11 on the UK albums chart and #5 in Billboard 200, featuring some of their most loved songs including ‘2000 Miles’, 'Back on the Chain Gang' both singles securing spots in the UK top 20 singles chart."

All You Need Is Death’ is the soundtrack to director Paul Duane’s cosmic folk horror film. The film blends Irish folklore and musical traditions with nerve-wracking horror where songs that have never been heard before open the door to a powerful, ancient evil.It follows near universal acclaim for the latest Lankum album ‘False Lankum’, including the topping of numerous Albums Of Year Lists worldwide (incl. The Guardian, Uncut, Loud & Quiet, The Quietus, Mojo (‘Folk Album’) and the Irish Times and sold out shows around Europe throughout 2023 and widespread critical praise for Ian’s debut solo album as One Leg, One Eye ‘And Take The Black Worm With Me’ (on Nyahh Records).Tracklist:

L.D. 50 is the debut studio album by Mudvayne, the American heavy metal band that is known for their sonic experimentation and horror-styled appearances. The album was co-produced by none other than Garth Richardson and Shawn ""Clown"" Crahan of Slipnot. For the album, they experimented with a ragged, dissonant sound; a sound collage prepared specially for the album that was used as a series of interludes. It spawned three singles, ""Death Blooms"", ""Nothing To Gein"", and one of their biggest hits to date: ""Dig"". In the year of its release, the album peaked at #1 on the Billboard Top Heatseekers chart and #85 on the Billboard 200. It gained more critical praise over time and was named one of the twenty best metal albums of 2000 by Metal Hammer magazine. L.D. 50 is available as a limited edition of 3000 individually numbered copies on yellow and black marbled vinyl. This 2LP is housed in a gatefold sleeve and includes a 4-page booklet.

Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Plagues Upon Plagues opens with the bereft waves of “No Uncertain Terms”, a side of the band we haven’t seen before. Vocalist Chris Colohan describes this album as “a funeral rather than a trial”, the activism of previous releases fading to sorrow and grief.

Lead single New Low follows with the advent of marching drums, a funereal procession for the world we hoped to build. There’s frantic horror on the album too, with the track “Drowning in Sorrows” taking a look at the ways in which we numb ourselves as a society. “#ForeverHome” is a bitterly angry track about how people used animals for both narcissistic virtue signalling and one-way comfort in the pandemic, and abandoned them en masse just as selfishly when social life came back. Speaking to their straight-edge principles and how that continues to feed into their songwriting, Chris says, “the only kind of straight edge songs I’m interested in writing are dynamic ones that address human realities that you don’t have to be straight edge to engage with.”

On Plagues Upon Plagues, Sect pierce through the veil of complacency, forcing listeners to confront uncomfortable truths about the fragility of our world. The band wields their sonic arsenal like a prophetic warning and with raw vocals and uncompromising lyrics, they confront the harsh realities of existence in these tumultuous times. As society teeters on the brink of chaos, Sect's cold hard statement resonates with an urgency that cannot be ignored.

Bob Dylan released “Triplicate”, his third collection of pop standards. Like Dylan’s earlier albums, “Shadows in the Night” (2015) and “Fallen Angels”(2016), most of the songs have an association with the great Frank Sinatra. This double LP presents Frank Sinatra’s versions of many of the songs Dylan sang in these three forays into The Great American Songbook. Orchestras accompanying the iconic singer are led by Nelson Riddle, Gordon Jenkins, Billy May, Alex Stordahl, and Tommy Dorsey, among others. Dylan once related this about an encounter he had with Ol’ Blue Eyes: “He was funny, we were standing out on his patio at night and he said to me, ‘You and me, pal, we got blue eyes, we’re from up there,’ and he pointed to the stars. ‘These other bums are from down here.’ I remember thinking that he might be right.”

The three howler monkeys of NAG strike back with their new album “Boys Of Europe”. They debuted in 2016 as an exciting breath of basement-smelling air. Their moderately original alternative cement mix of the filthiest of punk, the truest of hardcore, and the evilest of metal was very well received. Then came gigs and tours around Europe before the second album was released in 2018, to raving reviews too, ofcourse. But then there was dead silence. For a long time. Now they’ve finally returned from obscurity with ten perfected and mighty NAG-tunes. Indeed, their hair has become greyer, and their backs hurt more, but there’s no way you can tell. They still sound like raging Norwegian teenagers. NAG has stayed true to their original ‘crust punk black metal’ formula, and the new album is as hard, fast and straightforward as anything they’ve done before.

Remastered vinyl of the original album which came out on CD only in 2005. Limited to 200 copies on classic black vinyl. This is an album that’s as alive as any could be. Indeed, far from sounding like the last desperate set of half-baked ideas from a once vital band (hello Oasis?) Artists Cannibals Poets Thieves is more like a debut album from a bunch of teenage upstarts: free from cynicism, fired with worldly wonder and chock full of ideas. This is certainly a different outfit from that of 1998, when they first wowed us (via John Peel, naturally) with the utterly essential sprawling noise that was The Things We Make. Long since stripped down by a series of resignations from a five strong collective to a taut three piece featuring founding members Chris Olley, James Flower and Chris Davis, the music has simplified considerably. Gone are the soundscapes of old, and in their place we have a series of sharp basslines, swirling keyboards, cutting guitar lines and the passionate hollering of frontman Olley. Opener All I Really Want From You Is Love is a perfect introduction to proceedings – a truly wonderfully distorted slab of indie rock, recalling early Jesus And Mary Chain in both its fuzz and, crucially, its wonderfully crafted tune. Next, Nowhere To Go But Home sounds like New Order if they’d emerged from Detroit in 1966. Tonight (I Wanna Make It Out) follows likewise with the best bassline Peter Hook never plucked. Throughout, Six By Seven manage to sound so natural, so refreshing free of the flab and introspection that a band on its last legs would usually succumb to. And whilst the momentum is momentarily lost as the drum machine makes an appearance to fashion the Suicide-esque trawl of Stara Paris Rescued Me, it’s not long before Just Get It Down muscles things back on course with a whispered Olley diatribe perched on top of more raw cacophony, before we reach the bitter end via the Depeche Mode-on-smack You Know I Feel Alright Now. Tracklisting:

Despite initial obstacles, Loverboy established themselves as one of the most successful Canadian rock bands of all time. "Working For The Weekend" is not only their mega-hit from the 80s, but has been Loverboy's motto for over 40 years. Their 1982 performance appears for the first time in fully restored & remixed sound. "Live In '82" not only captures the band's joy of playing and energy, but also reflects the golden era of the 80s: colorful clothes, fancy hairstyles (and headbands), great movies and great music. As a limited CD+Blu-ray edition & limited 180g Black LP edition with bonus DVD and including their mega hits "Working For The Weekend", "Turn Me Loose", "The Kid Is Hot Tonight" & more.

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "