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Acid Jazz Group Label Countdown Records is proud to present 'Shake A Tail Feather' - a Vinyl/CD collection from Fast Eddie, one of the early '80s most exhilarating live groups, and a favourite of the Rhythm and Soul powered Mod scene of 1980s. Initially called 'The Investigators', Fast Eddie emerged from Billericay in the wake of Thames Delta Blues pioneers, Dr. Feelgood. Having gained a following playing the raw R&B of the Pub Rock circuit, the band diversified their sound to incorporate classic soul repertoire, alongside their own material, which is documented throughout this collection.

Significantly, the group was also managed and produced by a certain young Eddie Piller - our founder - in his first foray as a music Mogul. Consequently, this collection marks an important document in the formation of Well Suspect Records, Countdown Records and the wider Acid Jazz Story. The LP contains a sharp selection of 16 tracks from their recordings, while the CD and digital version extends this with 4 extra tracks. Their storming versions of 'Shake A Tail Feather' and 'Out Of Sight', show their love of classic club soul, while 'Help Me' and 'My Babe' prove that they could play the blues with plenty of rhythm and feeling.

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

British soul royalty John Turrell's classic debut solo album 'The Kingmaker' is given a much-deserved release on a limited edition yellow vinyl LP. Delivering eleven stunning raw vocal performances on emotionally searing tracks, Turrell manages to span upbeat northern soul jaunts, downtempo bluesy groovers and emotive ballads in a cohesive collection that never ceases to treat the listener.

Created with writing partner and producer Nick Faber as a reflection and meditation on the ebb and flow of a normal man's life, authenticity and relatability are two key characteristics of the writing style on this record. While it is an album that references a diverse set of influences there is an unmistakable soul and blues sensibility that courses throughout the tracks. There are the same recognisable soaring vocals and heartfelt lyricism from the 'Smoove & Turrell' frontman that long term fans are used to (Smoove even lent a helping hand with engineering duties on the record) however this is undoubtedly a case of John running his own show.

LIMITED NEON YELLOW LP with gatefold insert and digital download card.

New version on Solar Orange Vinyl. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

Renowned for their distinctive songwriting, unique sound with beautifully
produced recordings, onstage chemistry and electrifying live shows,
European and British blues award nominees the Starlite Campbell Band
are Suzy Starlite and Simon Campbell who fell in love on stage and
married following a whirlwind musical romance
With their fresh taste of original '70s British rock and British blues, the husband
and wife duo have been on an exciting roller-coaster of a musical ride following
the release of their debut album 'Blueberry Pie' to rave reviews worldwide and a
prestigious nomination for Best Album in the European Blues Awards.The band's
exciting and highly anticipated second album 'The Language of Curiosity' is
released on November 5th, 2021 and supported by a European tour.
'The Language of Curiosity' is a collection of stories about different facets of
post- modern real- life experiences from working for the man, attitudes towards
lust, passion and casual sex, space travel, social systems and abuse by power
and money, war and the global refugee crisis, gatekeepers in the music industry,
people giving up and growing old before their time and feel good '70s inspired
British rock and British blues; it's like looking at different sides of a Rubik's cube.
From full-on rock 'n' roll tribal drums, thunderous bass, badass dirty guitar riffs,
drunken echoes of slide and lap steel, melting melodies and vocal harmonies
combined with old school valve guitar amps and analog tape machines, Starlite &
Campbell have a very British sound! With a vibe and feel reminiscent of the mid
'60s to early '70s British rock & British blues; think Peter Green, Faces, Deep
Purple, Led Zeppelin but not like those really... more like Starlite-Campbell!

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

180g audiophile vinyl reissue of Mary Lou Williams' highly sought after
1976 LP 'Free Spirits', featuring bassist Buster Williams and drummer
Mickey Roker
The First Lady of jazz, Mary Lou Williams (1910 - 1981) was the evolution of jazz
itself. Starting her professional career as pianist/composer/arranger in the 20s,
her style was swing but in the '40s she adopted the bop and later on she even
ventured into the realm of avant-garde jazz. Yet she never lost her blues feeling
which is evident in this long-awaited LP.
She contributed compositions and arrangements for many famous big bands
such as Andy Kirk, Benny Goodman, Earl Hines, Duke Ellington and Dizzy
Gillespie. In the late '60s and the '70s she was more focused on composing
sacred music. And one of her jazz masses was choreographed by Alvin Ailey.
Around the time of this recording Mary Lou in her mid-60s was still active in the
New York jazz scene performing regularly at the Cookery with the group recorded
here. SteepleChase was proud to have the opportunity of recording one of the
most significant artists of jazz of this century.

Instrumental, Neo-classic, ambient, Piano with electronic Recorded at cult CBE Studio (Bernard Estardy) in Paris, The Love Note is a collection of eight startling new instrumental songs played by an experimental quatuor under the auspices of Belgium composer Benjamin Schoos: Ondes Martenot (Christine Ott), Christophe Cerri (Piano), Manuel Hermia (Flute), Jerôme Mardaga (modular synth)

For Fans Of… Dr. John, Allen Toussaint, The Faces, Joe Cocker, Leon Russell, Buddy Miles, The Meters, Father John Misty. "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus." Also Available From Neal Francis: These Are The Days 7”.

On-U Sound announce latest volume in the Pay It All Back series with unreleased Lee “Scratch” Perry track, plus 40th anniversary live concerts

On-U Sound is proud to present the latest volume in the much-loved and collectable series of On-U Sound label samplers, packed with exclusives, alternate mixes and previews of upcoming releases. Includes unreleased tracks from Lee “Scratch” Perry, Tackhead, African Head Charge, Mark Stewart, Creation Rebel, Andy Fairley and more.

The first music to be shared from the album is an unreleased track with the late, great Lee “Scratch” Perry - “Many Names Of God” is an outtake from the sessions that produced the Rainford and Heavy Rain albums and also features vocals from Nightmares On Wax collaborator LSK aka Leigh Kenny.

The release of the new compilation also coincides with a very special concert taking place at the Forum in London, originally scheduled for 2020 but delayed because of the pandemic. Celebrating 40 years of the On-U Sound label, it brings together musicians and artists from at least four different continents for a unique evening with Horace Andy, Tackhead, African Head Charge, Creation Rebel and most of the other musicians featured on the album.

Label boss Adrian Sherwood comments: “As usual with the Pay It All Back series, the intention is to promote our upcoming releases and productions. Also on offer are previously unreleased gems, versions of tracks exclusive to this release and more from artists that we’re keen to promote. Sadly in the last year we have lost so many music giants from amongst us, including Lee “Scratch” Perry, George Oban and John Sharpe. Lee Perry laughed at death. It was to him just a part of life and another beginning...I trust Lee. I’m very proud of this album, it goes out to all On-U Crew, our missing and irreplaceable friends.”

Please note that the Rita Morar and Mark Stewart tracks are vinyl only, are not currently available digitally, and therefore are not accessible via the download card.

- Spec: Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card

Bonus tracks accessible via DL card:
1. Tackhead ft. MAD 45 - I Don’t Wanna Work A Fake Job
2. Sherwood & Pinch - Excessive Drinking
3. Ital Horns - Metropolis
4. LSK - Money Masters
5. Andy Fairley - Deranged Man

Inspired by the recordings of Charlie Christian with the Benny Goodman Sextet. Kenny began playing guitar aged 12. Other important influences were Oscar Moore and Django Reinhardt and in 1952, as a university student he made his recording debut with The Dizzy Gillespie Sextet. In 1955 he joined Oscar Peterson's Trio depping for Herb Ellis and moved from Detroit to New York where
he played with Benny Goodman from 1957 to 1959, following in the footsteps of Charlie Christian. Midnight Blue was produced by Alfred Lion and swiftly became one of Burrell's most popular albums for Blue Note, and was critically acclaimed as a fine example of Soul-Jazz. Such was the impact of Midnight Blue, that Peter Frampton often proclaimed that Burrell was his favourite Guitarist.

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Up next on Happiness Therapy is Lyon-based mainstay Denyl Brook with his first full-length EP on the emerging label. Already a firm favourite through his contributions to the lauded Happy House series, his forthcoming I Wanna EP follows on from two recent appearances on revered UK outfit Shall Not Fade, as he returns to the French imprint in June to gift us four tracks of mood-lifting musical goodness.


Denyl Brook is swiftly becoming one of France’s most talked-about rising talents. Head of his own Silver Step Records, he’s a familiar face at Happiness Therapy, having racked up several productions on the label’s Happy House compilation series over the years. He’s also one of their resident DJs, regularly playing at their parties across his native country and beyond, and has recently landed a solid release on UK-imprint Shall Not Fade. Now, I Wanna acts as his debut solo EP on Happiness Therapy, proving that Denyl Brook is only just getting started.

Johnny was born in 1934 in Memphis, the city where Rock’n'Roll began. A career in boxing
seemed most likely tfor the Burnette brothers before meeting Burlison, who’d graduated from
High School two years before Elvis Presley. Burlison had backed Blues giant Howlin’ Wolf on
radio appearances and worked at Crown Electrics with Dorsey, with Elvis later becoming a
workmate. They had also taken to rehearsing in the basement of one of the apartment blocks
in Lauderdale Court. With the apartment above rented by the Presley family, who had not long
arrived from Tupelo. Legend has it that, Elvis would slip downstairs and sit quietly in a corner,
listening to them rehearse. And it was after seeing Elvis on television in January 1956, that
sent the Rock'n’Roll Trio to New York where their appearances on Ted Mack’s Amateur Hour
saw them sign to the Coral Label. The three-time talent show winners immediately set about
recording a repertoire based equally on R&B and Country & Western material. The Rockabilly
they cut for Coral, some 25 tracks, was later described by genre expert Bill Millar as 'unrivalled
for unsubtle power and wild intensity’. Joe Turner’s Honey Hush, and the self-penned Tear It
Up have been constantly recycled by acts. The originals are included in this LP along with
other material such as Rock Therapy, Lonesome Train and Touch me

We have two versions (two different covers) - black vinyl or multicolor, limited, hand nubered (111 copies) vinyl.

Two years after the well-received compilation "Nebula," Himalaya Collective (probably the largest team of beatmakers in Poland) returns with another release. This time the Himalayan section of 24 producers (and some exceptional guests from outside the collective) will take us on a journey into the skies. On "Latawce" (which means "Kites" in English), we will hear 24 tracks with one goal in mind - to allow a maximum two-minute flight. The premiere (not accidentally) will take place on the 1st day of summer.

The sound of each Kite has been colored thanks to the excellent mastering done by Eprom. The album's vinyl version was made in two options and with two different covers. @Eloprzemi is responsible for the design of the classic version, and the cover of the limited surprise vinyl was designed by Gbur. The limited edition is hand-numbered (111 copies), and the surprise is worth emphasizing the different colors of each vinyl! Crazy Action! Great album! The perfect soundtrack for the summer holidays 2022!

I’m Jimmy Reed underlined the very raw nature of the recordings, yet it immediately showed
why his music was embraced so much by others as the songs offered more melody and variety
than other Blues players. Ain't That Lovin' You Baby has fine melodic hooks that could easily
be transcribed into rocking versions, while Boogie In The Dark set the template for so many
groups in the sixties. The slower tracks like You Got Me Crying and Little Rain provided useful
contrasts, while Honest I Do gives added meaning to the phrase 'stripped down'. Jimmy Reed
was easily the most commercially successful Bluesman in America during the 1950s, and as
such his material was readily available to be plundered by artists wanting to enrich their live
repertoire. This reached its height during the UK Beat boom when virtually every working group
included his songs in their sets. The Rolling Stones, The Yardbirds, Them and The Animals all
covered his songs liberally during the first half of the sixties. In his homeland, The Grateful
Dead, The Steve Miller Band, Johnny Winter, Wishbone Ash and, bizarrely, even Bill Cosby
followed suit!

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

This series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsun pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear.

With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

The Grateful Dead’s first tour outside of North America was immortalized on Europe ’72, a triple live album that distilled peak moments from the 22 shows the band played in six countries for thousands of Europeans. A triumph critically and commercially when it was released in November 1972, today the double-platinum album is an integral part of the Dead’s live legacy and beloved by generations of fans. Appreciation for the extraordinary tour grew in 2011 when every show was released in the unprecedented, 73-CD boxed set, Europe ’72: The Complete Recordings.
Today is the 50th anniversary of the first show from the Dead’s European adventure. It took place on April 7, 1972, at Wembley Empire Pool in London. To mark the milestone, Rhino and Dead are announcing a series of upcoming releases and events connected to the celebrated tour.
A newly remastered version of the original Europe ’72 album will be available on July 29. EUROPE ’72 (50th ANNIVERSARY EDITION) arrives in 3-LP. All of the new 50th anniversary editions were mastered by Grammy® Award winning engineer David Glasser with newly restored audio by Plangent Processes.

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

Arguably among top ten best metal albums of 2015, no one member in Veil of Maya’s roster is overshadowed in this new direction. This time around, the entire band’s talent is showcased more evenly than in previous albums. Graduating from six string baritones to sevens and upping the ante with recently acquired vocalist Lukas Magyar, Veil of Maya’s Matriarch delivers a little less flash while still holding on to the thrashy-ness that fans have grown to love.

Though Magyar’s high screams, low growls, and clear vibrato are brought to the table on a glorious china plate encased in a catchy melody sandwich, the introduction of the first clean vocals since the band’s inception isn’t the most notable change from previous vocalist Brandon Butler, who left the band during Matriarch’s inception due to “creative differences.”

While Veil of Maya has always included little easter eggs in their track titles, such as the Game of Thrones headnod “Winter Is Coming Soon” from their 2012 album Eclipse, Martiarch goes further by being their first album to follow a female inspired theme. Guitarist Marc Okubo fit the album’s concept around strong female characters from different fictional genres. Limited vinyl version available on purple and baby blue vinyl with black splatter

Since the release of Superstition back in 2018, FUNERAL CHIC has been through something of a metamorphosis, a rebirth if you will. With renewed purpose and a line up that has been solidified along the way, the four piece are preparing to release their third full length album, Roman Candle, this summer. Holding no desire to make the same album twice, they have eschewed the punk-led powerviolence that informed their previous work and have embraced the great tradition of American rock and roll - but given it a very distinctive FUNERAL CHIC twist. The swagger of proto-punk forefathers The Stooges and The New York Dolls imbues the darkest, grittiest corners of their reinvigorated sound, and can also be found on their cover of Roky Erickson’s Two Headed Dog. The caustic energy of early thrash and black metal scenes is also present, flickering with unmistakable incandescence throughout. Having previously led with their outspoken politics, this time the lyrics are refracted through a more personal - but no less fervoured - lens. With members of the band taking a path of sobriety in recent years, the knot of rage that was previously doused with alcohol has been channeled into the lyrics on Roman Candle instead. Ten tales of sweat and pungent aggression dripping into a powder keg of a global identity crisis weave throughout the album’s length. Recorded at Legit Biz, in Greensboro, NC with engineer, Kris Hilbert, FUNERAL CHIC guitarist, Robert Stroud, oversaw production, before the album was mixed by Matt Russell and mastered by Brad Boatright at Audiosiege. Throughout the process of creating Roman Candle, FUNERAL CHIC has - without ceremony - sloughed away old skin to reveal something new beneath. The volatile and unpredictable experience of living in modern day America is distilled via the mercurial sound of aggressive punk, sleazy Americana, and raw heavy metal. Roman Candle marks the beginning of the next blistering chapter for FUNERAL CHIC.

Silver Vinyl
2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

Black Vinyl 2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

For Judah & the Lion, the last two years should’ve been the best of their lives as the Nashville band toured behind a powerful single and a genre-upending album, sharing stages with heroes and playing to oceans of fans. But as everything was coming together for them, singer-guitarist Judah Akers’ family was falling apart in a hail of alcoholism and affairs, death and divorce. From that tension comes Pep Talks, the trio’s third LP, and a hard left turn into deeply personal terrain. Knowing they had something new on their hands, Judah, Brian Macdonald (mandolin), and Nate Zuercher (banjo) took their time crafting a set of songs that not only shores up their one-of-a-kind sound—a heart-pounding whirl of folk, bluegrass, rock, hip-hop, and electronic production— but takes the listener on a bracingly candid, surprisingly anthemic journey from the kind of pain that tears your whole world apart to the sort of hard-won hope that can bridge the deepest of rifts.

Neuauflage des Kult Albums "Deth Red Sabaoth" als limitierte Red/Black Ink Spot Vinyl. Neben bluesigem Biker Rock a la „Hammer of the Gods“, und „The Revengeful“ belegt die mitreißende Gänsehaut-Nummer „Rebel Spirits, einmal mehr den verdientermaßen Kultstatus des Ausnahme Sängers. Doch damit der Höhepunkte nicht genug: Das epische „Black Candy“ (erstmals mit Glen Danzig hinter dem Schlagzeug), „Night Star Hel“ sowie das treibende „Juju Bone“ lassen erneut Erinnerungen an die goldene Rick-Rubin-Ära wach werden. Auch nach zahlreichen Durchläufen zeigen sich keine Abnutzungserscheinungen. Über den abwechslungsreichen Songs thront dabei das unverwechselbare Organ Glenn Danzigs, das mit diesem Klassiker zu alter Stärke zurückfand. In bester Jim-Morrison-Manier heult, schreit und flüstert sich das Kraftpaket durch die 11 Highlights ohne Schwachpunkte auf Deth Red Sabaoth, das die Rückkehr Danzigs in Höchstform feierte.

Es war die erste Tour von The Grateful Dead ausßerhalb der USA, welche die Band bei 22 Shows durch 6 europäische Länder führte. Die dazugehörigen Aufnahmen nehmen bis heute einen zentralen Platz innerhalb der umfangreichen Live-Diskografie der Band ein und wird
von den Fans - Dead Heads - auf der ganzen Welt
gefeiert.

Die Aufnahmen wurden zum goldenen Jubiläum noch
einmal remastered und erscheinen am 29. Juli als 2CD &
3LP.

On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the
time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music,
jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove
movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna
based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for
many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa
Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered
one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector
and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten
gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:
Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and
Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo
album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru
and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre
Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.
After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation
of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry
Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with
the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with
international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam
Recordings, !K7.

The latest three CDs on the Irma label “I Don’t Want This Groove To Ever End” (2012), “Ain’t Nothing But A Groove” (2013), “Don’t Let
The System Get You Down” (2015) and “Beggar Groove” (2017) show the funkiest and grooviest side of LTJ !
In the last years LTJ has literally toured the world, some really important and popular Festivals have booked him for his reknown DJ
Set performances, Scottish Soul Weekender (Dumfries, Scotland), Mareh Festival (Boipeba Island, Brazil), Garden Festival (Tisno,
Croatia), Jazz Refound Festival (Vercelli, Italy)
And visiting Cities like: Tel Aviv, Skopje(Macedonia), Belfast e Derry (Ireland), London, New York, Berlin, Bucarest, Amsterdam, Paris,
Marsille, Barcelona, and Vilnius (Lithuania). just to name a few.
Deepening of a Groove is the new album, the fifth dedicated to the research of sounds Disco Funk from its origins revisited by today's
rhythms and the dancefloor feeling of 2000. For the first time on this album 4 sung songs appear. Bad Side (already released in single
version) and Infiltrator are sung by Anduze, soul singer from Los Angeles also known for his collaboration with Parov Stelar. I'm Gonna
Funk U and Stranger are sung by the Marche singer AdniL for the first time in collaboration with LTJ.

Very few copies in on this. Limited to 350 2LP’s pressed at 45RPM Black vinyl, pressed at Kindercore in Athens, GA, housed in “bootleg-style” hand-stamped and numbered LP jacket. Lacquers cut by Bob Weston at Chicago Mastering Service. Mixed by John Congleton w/ Jeremy Lemos and Steve Shelley." In the summer of 2009, Sonic Youth drummer Steve Shelley and the band’s long time sound engineer, Jeremy Lemos, invited Lemos’ White/Light bandmate Matt Clark and Chicago spacepunx Disappears to come over to Lemos’ Semaphore Recording studio and jam. Their one-afternoon, two-drummers, three-guitarists, no-rules jam evolved into a productive and glorious multi-day freakout, which resulted in the recording of these eight songs. Producer John Congleton (St. Vincent, Angel Olsen) later mixed the marathon session with Steve and Jeremy at Echo Canyon West in Hoboken, NJ.

Blue Note Re:imagined returns this year with a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul and R&B scene’s most hotly-tipped rising stars. This 7” single features two covers from the upcoming album, from Ego Ella May and Theon Cross. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label’s iconic catalogue, balancing the genre’s tradition with its future and reflecting the melting pot of talent and diversity within the current scene.

Originally released as an obscure private-press LP by the Florida trio of Ben Champion, Ken Burkhart and Danny Burger.

Special guest on this super rare funky jazz outing is Mike Longo who says a few words on behalf of the group on the back cover, and sure enough he contributes scorching Rhodes in the style of his early 70s Greasy Groove sides for Groove Merchant and Mainstream. Also on board are Kelton Champion on guitar, Gary Champion on Bass, Mickey McGann on keys and David Winters on Congas and Percussion: (Just what we love to see on these kind of grooves. Added Phat Funkiness!)

The 20 minute title number weaves, bobs, and scorches with a sound that has been described as a "Headhunters Headspace" the groove never dropping for an instant with a Fender Rhodes meets Hammond B3 Prestige Style Scene with an added flavouring of some chunky Moog Synthesizer.

This has gotten a lot of chatter on the underground Jazz Vibes lately, copies changing hands for $300 and more. The track "These Are My Friends " regularly sells for upwards of $500 and is one of the most hard to find singles on the Rare Soul circuit.

The band are from South Florida, a well known melting pot of culture and music.This area has produced an impressive number of Super Star Jazz Musicians.

Among them Cannonball Adderly, Blue Mitchell, Jaco Pastorius, and Mike Longo and a multitude of others.

Jazzberry Patch can now be added to that roster with this fantastic re-issue from Jazz Room Records.

'For the born Londoner the country ever remains an incredible mystery. He knows that it is there – somewhere – but he has no true vision of it. In spite of himself he Londonises it, suburbanises it; he sticks a gas lamp or two in the lanes, dots some largish villas of red brick beside them, and extends the District or the Metropolitan to within easy distance of the dark wood.' – Arthur Machen, Far Off Things

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Tossing down straight acoustic shots with electric guitar back, Hello, Hi rides through the valley of yer ol' Canyon legends, finding an isolated place to unspool Ty's copious reserves of nervous energy beneath an open sky. Swarms of harmony vocals caper among the clouds, but there's a rider on the horizon behind, with crossbow trained on his very own heart - the engine driving all the relationships of life, whether down Broadway or over the cliffs at night! Whatever doesn't get killed is getting stronger all the time. A lean, mean deal, baked in saltwater and sunlight, compassion pouring out it's beautiful blue eyes.