Buscar:blue on blue

The internationally renowned alternative Bluesman, famous for his outrageous one-man live show and songs featured in Breaking Bad (plus many other soundtracks), has now brought his blues growl and rough sound up to peak industry production and style...of around 1974.
This album sits style-wise alongside the greats of the genre: Tom Waits, Randy Newman, Dr John. It also has the unmistakable blues harmonica, voice and wit all his own.
Fans also purchase Seasick Steve, Jon Spencer , and other alt-Blues recordings.
Son Of Dave is a unique genre bending 21st century Blues innovator who has been bringing his 9+ albums and shows to modern generations internationally over two decades and selling over 20,000 hard copies, 50,000 DD, and streaming 3 million annually.
UK PR has secured radio plays at BBC6Music, BBCRadio2, Jazz FM, RadioX Canadian PR has secured charting college station support and national CBC plays.
UK autumn tours include dates supporting Sleaford Mods (not your average blues circuit) 2020 and 2021 singles were playlisted at Spotify curated Nu-Blue, Bluestronica and other alt-Blues type playlists.
Former member of multi-million selling Crash Test Dummies all through their heyday
Has been chosen support for Iggy & The Stooges, Supergrass, Rag&Bone Man,
John Spencer, UB40 and many more. Not the same old Blues in other words.
A very long list of achievements.

Electrifying Rockshow meets bluesy film noir-mood!
Daniel Welbat sings as if he had hung out in the darkest bars for years.
With his five-man band, the extroverted frontman brings a brilliant 8222;Rock Noir”-sound to the stage that thrills both the audience and the press. Most of the songs were recorded in october 2019 by the NDR at the Hamburger Nochtspeicher. Shortly after that the concert was awarded by the OXMOX-Leserumfrage and chosen for the TOP 10 BEST CONCERTS in 2019 (next to P!nk, Robbie Williams und Udo Lindenberg) NDR and DLF are Radio Presenters. Print Presenters: MusiX, SCHALL, eclipsed, ROCKS, Good Times OXMOX-Leserumfrage picked the concert (next to P!nk, Robbie Williams und Udo Lindenberg) for the Top 10 best concerts in 2019.
WellBad is a “Live Band” and the people are craving for LIVE MUSIC!

Walter Lure, best known as co-frontman and songwriter of the Heartbreakers, also led his own band, The Waldos. Their debut ‘Rent Party’ LP has been unavailable on vinyl since 1994. This limited edition in blue vinyl has two bonus tracks, from the 'Crazy Little Baby' 7" of 1991.

Sadly, Walter died in August 2020, the last of the ‘L.A.M.F.’ Heartbreakers. His memoir "To Hell And Back: My Life In Johnny Thunders’ Heartbreakers - In The Words Of The Last Man Standing" will be published by Backbeat in paperback edition on July 1, 2021. Upon the original ‘Rent Party’ release, AllMusic said - "The long awaited Waldos album proved to be a big success, at least artistically ... the Waldos tear through a set of tunes that are as much fun as a CD can have with its clothes on."

Walter Lure’s guitar-sparring partner in The Waldos in place of Johnny Thunders is Joey Pinter, whose self-titled solo album was released in 2015. The rest of the band is the late Tony Coiro on bass and Jeff West on drums except on the bonus 7” tracks, the late Charlie Sox.
The album features six Walter Lure originals, plus covers of Jerry Nolan, Gary US Bonds, Claudine Clark and Ray Charles songs. A limited edition in transparent blue vinyl, with inner bag.

Clear Vinyl

Post-punk/new wave hero Ann Margaret Hogan’s second album of solo piano and field recordings for Downwards is a box of subtle wonders, mastered by Veronica Vasicka and highly recommended if yr into Satie, Virginia Astley, Sarah Davachi.
A weight of history flows through Hogan’s keys with a stark intimacy, beautifully illuminated by naturally effortless, quietly grand songwriting. It’s a direct continuation of the landscaped themes
and atavism of 2020’s ‘Honeysuckle Burials’ and the ‘Reversing Into Tomorrow’ collaboration with Karl O’Connor, vividly capturing the slow passage of time in a way that has quite literally compelled
us to stop the relentless mind-grind for its 40 minute duration on more than one occasion.
After previous fixations on the iron age forts and burial mounds of the Clywdian Range in North Wales, Hogan transmutes the scenery of her more immediate locale, Oxton on The Wirral - from the cadence of its red sandstone landmark Thor’s Rock, to memories of its boating lake, for example - into a quiet yet ravishing suite inflected with traces of wildlife and industry recorded on long walks, all subsumed within a deep blue estuarial atmosphere silted by the strange reality of life in
the current era, echoing the surreal, sunny period when the album was conceived.
A generation on from her pivotal work with spar Marc Almond and likes of Deux Filles and Nick Cave, and forty generations since The Wirral hosted, as she says “a Norse parliament at Thingwall”,
Hogan weaves time and place into a reflective, funereal sort of parlour music, turning daily ambulations amid the gorse and under luminous skies into gorgeous, life affirming and intimate self expressions.
The eight pieces are mostly improvised and flow with a free, fleeting concision from the palpable warmth of ‘Forgotten Prelude’ and bluesy ache of ‘Fragile Elements’ to more funereal modes in ’Mesto’ and ‘Funeral Cargo’ suggestive of a Viking burial soundtrack. At its core, ‘Wolfswalzer’, a dedication to her one time collaborator and erstwhile Kraftwerk member Wolfgang Flür - is described by Hogan as “a simple waltz of coffee, food, friends and music”, and ‘Impromptu’ is the
album’s slowest, soaked in the feeling of atmospheric immanence that defines the album’s timeless appeal. It’s an unspeakably moving album, words really do it no justice.

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

Repress !

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

CONFUSIONAL QUARTET: A few months after the release of the first and self-titled LP, this 10-inch album carrying the same title "Confusional Quartet" was released. On this album the band continues to offer songs (called songs even if Confusional Quartet did not have a singer) using the energy of post punk and the mood of new wave.
This new project also includes the piece "Sigla" produced and edited in 6 different ways.
"Sigla" is an example of what Confusional Quartet used to call "Banal Music" inspired by the designer Mendini's "banal object". This track was recorded and edited by tape recorders to come out in different "metamusical" forms.
This record stands out also for the beautiful cover featuring a photo of Giacomo Balla's "flowers" sculptures, the Italian futurist artist who worked on a plastic and dynamic reconstruction of the universe.

You can now listen to the ten tracks of this 10" on the A -SIDE of the new release on a 12". The B-SIDE is dedicated to a rare live recording dated 1980.
Despite the quality of an amateur audio cassette, this recording testifies the band's iconoclastic energy. A fulminating live set, just over half an hour, no words, just music, quickly passing from a punk piece to a jazz piece or to a polka.

This record is also offered by Italian Records on a special colored vinyl edition of 180gr.

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

 On ‘Phantom Rhythm’, Gong Gong Gong’s raucous debut, the
minimalist Beijing duo created a drummer-less sound that was
more than the sum of its parts, inspired by back-porch blues,
Sahelian guitar music, New York no-wave, Cantonese lion
dance percussion and, seemingly most incongruously, techno.
 With ‘Phantom Rhythm Remixed’, Gong Gong Gong bring to life
a concept they’ve planned since the release of their acclaimed
first album, curating their favourite China-connected electronic
music producers to remix ‘Phantom Rhythm’ in its entirety.
 The globe-spanning collaboration features Yu Su (Vancouver /
Kaifeng), Zaliva-D, Simon Frank, Howie Lee (Beijing), Mong
Tong, Scattered Purgatory (Taipei), Knopha (Xiamen), Wu
Zhuoling (Chengdu), Angel Wei (Copenhagen) and P.E.
(Brooklyn).
 The album traces a common thread, organically expanding the
palette of Gong Gong Gong into ambient club tracks, thumping
dance music, cinematic soundscapes and doomy, bit-crushed
psych.
 Gong Gong Gong are the duo of Tom Ng and Joshua Frank.
Formed in 2015 in Beijing, China, they make music from the
sparest of means: one guitar and one bass, interweaving riffs to
create forward-charging, drumerless grooves. Their inspirations
extend from Bo Diddley to African and Southeast Asian folk
music, psychedelic drone and the structures of electronic music.
 “A couple of misfits and a brash bouquet of sound” - Pitchfork
 “Spare and savage” - The New Yorker
 “String-focused, hypnotic, spitfire tracks” - Stereogum
 “A rare kind of intimacy you don’t often find with driving,
ramshackle funk” - Loud And Quiet
 “Depending on your ear, the Beijing-based guitar-and-bass duo
could sound like The Feelies’ stuttering post-punk, Bo Diddley’s
rock and roll boogie or Tinariwen’s droning desert blues” - NPR

It’s finally here, and what an explosive package it is!

Our beloved Ricky Nelson’s previously unreleased and final “live” concert at the Royal Albert Hall in London, England that Ricky and his band performed on November 17th, 1985 - along with a very special added extended play record that includes 5 tracks from his final unreleased sessions with Curb Records. This vinyl package is a MUST for anyone who loves to listen to the original rockabilly artists of the 50s in addition to Ricky’s millions of fans and collectors alike.

It’s finally here, and what an explosive package it is!

Our beloved Ricky Nelson’s previously unreleased and final “live” concert at the Royal Albert Hall in London, England that Ricky and his band performed on November 17th, 1985 - along with a very special added extended play record that includes 5 tracks from his final unreleased sessions with Curb Records. This vinyl package is a MUST for anyone who loves to listen to the original rockabilly artists of the 50s in addition to Ricky’s millions of fans and collectors alike.

Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

The Bride stripped Bare Bryan Ferry’s fifth album released independent of Roxy Music. Ferry approaches much more effectively, allowing him to cover such romantic soul standards as “That’s How Strong My Love Is” alongside his despondently modern “When She Walks in the Room.” It has been considered as Bryan Ferry’s most stunningly personal album. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “The Bride Stripped Bare” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

Los Angeles based band Los Lobos have always
been inspired by their surroundings and the place
they call home. Their music is influenced by rock
and roll, Tex-Mex, country, zydeco, folk, R&B,
blues, brown-eyed soul, and traditional music such
as cumbia, boleros and norteños.
With ‘Native Sons’ the band set out to showcase
all of these influences with their own take on the
songs of Los Angeles from some of the cities
greatest songwriters.
‘Native Sons’ features 13-songs from well known
LA artists such as Buffalo Springfield, WAR,
Jackson Browne and The Beach Boys as well as
deep cuts from The Jaguars, The Basters and The
Premiers.
The album title track is the sole original
composition written by the band.
2LP in gatefold sleeve (etching on Side 4).

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

The prolific, Grammy Award winner, Jim Lauderdale has delivered another
batch of songs that further define him as one of the leading voices of
Americana music.
With his new album, Hope, Lauderdale has written 13 songs intended to inspire. Instead of pondering the sadness, fear and isolation the pandemic has
caused with so many around the world, he has instead focused on the optimism of the human spirit and highlighted that, as we always have, mankind will
get through this difficult time.
He has done this within a collection of songs that touch on country, rock, boogie rock, bluegrass and Jim’s own blend of far out space music.

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

John Dawson Winter III, better known as Johnny Winter, was an American singer and guitarist. He was best known for his energetic blues rock albums, combined with equally energetic live performances throughout the late 1960s and 1970s. As such, it’s no surprise that he released many live albums. Captured Live! is his second live album, released in 1976 to positive reviews. It features mainly cover songs, including songs by John Lennon, Bobby Womack, Bob Dylan and more. This allows for the focus to shift towards Winter’s impeccable guitar playing skills, backed up by his band.

This LP edition contains an insert with photos and credits.

From boundary-pushing koto musicians to experimental jazz virtuosi,
Japanese music has long embraced all things avant-garde.
This Rough Guide highlights some of today’s key innovators whose individualism challenges the conformist perception of Japan.
A unique insight into the richness and diversity of the vibrant underground Japanese scene, which draws on myriad influences from free jazz and electronica to Zen budhism. Pioneering artists who push the boundaries of Japanese music, whilst at the same time paying respect to their musical heritage. Featuring tracks by free-spirited Koto players Michiyo Yagi, Karin, as well as koto/guitar duo tsuMGuito.
Compiled by the renowned radio presenter, journalist, and Japanese music expert Paul Fisher.

Exclusively on vinyl, The 60s Album brings together some of the biggest and most iconic names of the decade.



A value packed 37 tracks kick off with one of the greatest of all time ‘Good Vibrations’ from The Beach Boys, and continues with solid gold smash hits including ‘House Of The Rising Sun’, ‘The Sun Ain’t Gonna Shine Anymore’, ‘You’ve Lost That Lovin’ Feelin’’, the timeless ‘In Dreams’ from Roy Orbison, ‘Blue Velvet’ from Bobby Vinton, and the epic ‘River Deep Mountain High’ by Ike & Tina Turner.

Side B begins with a 6-track salute to the soul female stars and groups of the era - The Supremes, Martha Reeves & The Vandellas, The Ronettes, The Crystals, The Shangri-Las and Lesley Gore are all here, alongside some easy listening from Andy Williams and Julie London, and the cool pop jazz of Astrid Gilberto and The Dave Brubeck Quartet.



The second LP begins with 6 of the most iconic U.S. tracks ever: Simon & Gafunkel’s ‘Mrs Robinson’, and Harry Nilsson’s ‘Everybody’s Talkin’ lead into the peerless ‘Witchita Lineman’ from Glen Campbell, the immaculate ‘California Dreamin’ from The Mamas & The Papas, Scott McKenzie’s ’San Francisco’, and Linda Ronstadt’s defining vocal as part of The Stone Poney’s on ‘Different Drum’. The side is rounded off with 3 of the most atmospheric pieces of music from the 60s… ’A Whiter Shade Of Pale’, ’Nights In White Satin’, and Fleetwood Mac’s stunning ‘Albatross’.

The final side offers up Aretha Franklin, Dionne Warwick, Ben E. King and Dusty Springfield as some of the best voices and most soulful performances ever, before some of the greatest pop from Petula Clark, Love Affair and ‘I Got You Babe’ from Sonny & Cher and then it’s left to two of the biggest names in music history to close the album - Bob Dylan, and the incredible ‘In The Ghetto’ from Elvis Presley.



37 of the greatest tracks and artists from an era-defining decade… The 60s Album.

A beautiful, deep and personal techno document by Mr. G who is talking the international language of musical expression (spoken and understood by everyone). Expressing his feelings and emotions via his sonic frequency philosophy on probably his most versatile release to date, a 12 track album on Childhood records This is the first time we hear Mr. G diving deep into the soundscapes and deeper dancefloor cuts on this album recorded during the global pandemic.

It's marking a change in his musical vocabulary without losing his rough and raw energetic expressions. It's telling a story of forgotten places and dreams of the future. Dreams that pay tribute to the past, critical of the present, and still give hope for what's to come. Always rough and raw, the outstanding sonic frequency design on THE FORCED FORCE IS NOT THE TRUE FORCE will let you dive deeply into a more articulate and sophisticated musical language of Mr. G, while the man still keeps what we all love him for: his genuine distinct rhythms and seductive grooves that he has been sharing with the world for so many years!. --- The album is pressed DJ friendly on 3 x 180g 12'' vinyl and includes a download code. ---

The Staples do it again with another Ska classic that is guaranteed to get you singing along. This song is something of a good time anthem with happy vibes contrasting with some of the negatives that are around right now. With this song Neville and Sugary Staple really know how to put a smile on people’s faces. I can see this becoming a live favourite.

Dr Pete Chambers BEM, Coventry Observer

My goodness, the best of two huge talents. Husband and wife team Sugary & Neville Staple haven’t disappointed again! Feel good ska-based melody, toe-tapping and butt-shakingly good!TRISH ADUDU, BBC RADIO CWR

Well known for changing the face of music not once, but three times, 2Tone music legend Neville Staple (From the Specials), also known as the ‘Original Rude Boy’ and his super sidekick wife, Sugary Staple, release their brand new song, ‘Be Free Baby’, on the highly respected, Pickout Records.

A super ska track which mixes the original influences of Jamaican sounds, along with the 2Tone style that this dynamic ska duo, take on tour with them globally, alongside their top band of musicians.

Written by Neville Staple, who has scores of music awards from 40 years of 2Tone & Ska hits and albums, and his super talented sidekick, Sugary Staple and acclaimed record producer Lloyd ‘Pickout’ Dennis this song is a truly happy song, to take our minds away from the difficult days of Covid lockdowns, into a party mood of freedom and dancing. Fans will love the irresistible skanking beat, along with super feel-good lyrics to sing along to.

“After recently writing a song about the Lockdown, which related to the tough days of staying home and following rules and so on, I decided we needed some uplifting music too.” Explained Sugary, Frizzle TV Award Winner and Skamouth Festival Founder. “There is so much doom and gloom about in the news and we know how music can really be so good for the human soul. This tune has a lot of love and feeling behind it, as it encompasses all the fun, freedom and thrills that we have on stage, when we perform live. A whole year of global touring has been postponed, so we put the vibrance of a live show into this song.

Neville agrees, “I love writing with Sugary, as we are both on the same wavelength. We feed off each other. We were both in need of getting out there and performing for the masses but have had all our 2020 shows moved to next year, so we decided to bring the party to everyone through this song. We love the traditional sound and the bluebeat vibes too, with a twist of 2Tone magic. It makes me think about our holidays back home in Jamaica and beach parties, street carnivals, gigs and festivals. This is a happy tune for dancing away the blues!”

Reissued as an LP for the very first time, “Catch As Catch Can” is pressed on limited edition blue vinyl, remastered from fresh transfers of the original analogue tapes. The original artwork has been faithfully recreated, with the inner sleeve featuring a stunning portrait shot of Kim plus full lyrics.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

In 2020, 4AD turned 40. Never one to be on time for a party, the label is
commemorating that landmark this year with the release of ‘Bills & Aches & Blues’.
The compilation features 18 of its current artists covering a song of their
choosing from 4AD’s past: a creative experiment rooted in the spirit of
collaboration and a snapshot of 4AD, 41 years after its inception.
‘Bills & Aches & Blues’ will be released on double CD and double LP. The
first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The
Harmony Project, a Los Angeles-based after-school programme for children
from communities and schools that lack equitable access to studying the arts
or music.
‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections
between artist and track. The earliest song chosen (by U.S. Girls) is The
Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes
covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning)
from 2012. Suitably, for the one band that bridges 4AD past and present, The
Breeders are all over ‘Bills And Aches And Blues. They’re covered three
times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of
Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt
Eaters’ by their ‘90s contemporaries His Name Is Alive.
Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’
‘Where is My Mind?’ will feel comfortable to casual fans, however by
contrast, much joy can be found in the album’s surprise choices, such as Air
Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by
new signings Maria Somerville and Jenny Hval.
‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never
published the lyrics), after the opening line of Cocteau Twins ‘CherryColoured Funk’. Perhaps too unique and uncoverable in their own right, their
legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This
Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs
SOHN’s cover.
Some tracks unearth hitherto hidden shared DNA, such as Future Islands’
and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to
reinvention. Aldous Harding distils the melodic essence of Deerhunter’s
‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco
‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even
more radical interpretations. Leading off the album, Tkay Maidza brings both
her Art Rap and R&B game, but also an unexpected ‘80s synth pop template,
to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Repress on black vinyl, comes in Flatlfife label sleeve.

The 4th acid compilation is definitely a collectible! With an explicit track from Eat Static which is produced back in the 90s and has that oldschool goa touch and rave breakbeats - we love it!!! 303 Airline has his tribute on Flatlife with an excellent pounding acid techno banger which can be played loud in clubs. Together on the A-side with DJ Wank; a great acid techno producer from Sweden; pounding driving acid techno. Then last but not least; label owners Jack Wax (Flatlife Records) & Sam C. (Dosis Decibel / Cat in the Bag) team up; with this excellent dark acidcore track "Missing" - which is the 1st track they ever created together!! 4 styles of acid again on 1 vinyl! Enjoy this one!!!

Housed in a label sleeve and comes on solid blue and yellow mixed vinyl.

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

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

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

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

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

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

Spanning four decades over 32 years, The Trojans have constantly evolved, re-inventing themselves through several incarnations
while always remaining one happy family.
Formed By Gaz Mayall in the Autumn of 1986 after the demise of his first band, Gaz's Rebel Blues Rockers, The Trojans filled a gap
on the ska scene of the time of the time with a sound that encompassed ska and reggae with a dash of soul, funk, R&B and world roots.
During the first few years they recorded several albums that were well received on the UK underground, all on Gaz's own
independent label Gaz's Rockin' Records. The first was 'Ala-Ska' which featured the classic single 'Gaelic Ska' and launched a whole
new genre of Afro-Celtic fusion that has since become a hallmark of The Trojans' sound.
The 12 tracks included here cover the three main incarnations of The Trojans line-ups and features guest appearances from Prince
Buster, Jennie Bellestar and Zoe Devlin. Now available exclusively for RSD 2019 on 180g vinyl - a very limited Red edition and a
limited Black version

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Mayan Space Station’ is his first electric guitar trio album, and features Parker
on bass, alongside Ava Mendoza (electric guitar), and Gerald Cleaver (drums).
Cosmic multi-hued blues, perfect for space and time travel. The unparalleled
rhythmic firmament created by Parker & Cleaver is matched by Mendoza in full
flight. All of the promise imagined by a trio recording of these musicians with
compositions by Parker is delivered to the fullest.
Mendoza’s prodigious talents have illuminated many projects and recordings
as both leader and collaborator over the past decade. As is certainly clear here,
she is committed to bringing expressivity, energy and a wide sonic range to the
music. Gerald Cleaver is an exceptionally gifted poet of drum sound who can
play in the deepest of pockets and manifest all manner of sound to perfectly fit
contours within the most open of forms.
Cleaver & Parker have worked closely on numerous projects, notably within the
nonpareil full-improvising trio, Farmers By Nature, together with Craig Taborn.
William Parker is in vibrant grandmaster blossom here on double bass - in both
pizzicato & bow-as-prism modes.
William Parker: bass, compositions,
Ava Mendoza: electric guitar,
Gerald Cleaver: drums

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

“They were one of those bands that were a prequel to what the future was becoming. Feminism, human rights, animal rights, environmental
protection, gender issues... Spitboy was singing about these issues
30 fucking years ago.
I’m so grateful to have witnessed it.” - Billie Joe Armstrong “Spitboy are one of the most
important punk bands to have ever existed. To me, an angry 20-year-old in London, discovering them felt like the first time I truly identified with a band’s politics and agenda.
One of my all-time favourite albums (then and now) was Penis Envy by Crass. No lyrics
had ever touched me the way this album had--until Spitboy entered my life. My people. My radical feminists. My punk scene. Where I have lived and belonged for over 30
years.” -Vique Simba

• 20 acoustic tracks, compiled as an acoustic best-of album.
• The new album builds on the popularity of a previous acoustic album, Simply Eva (12 tracks), released 10 years ago, which has UK scanned sales of 236K and was Top 5 on release.
• The 3rd Jan 2021 was the 25th anniversary of Eva Cassidy’s legendary Blues Alley concert. A new documentary, “One Night That Changed Everything” was premiered on the anniversary itself with a general promotional campaign around this date.
• The 18th March 2021 is the 20th anniversary of the Songbird album going No.1, there will be a promotional campaign in support.

Silver Lining Music to release the first project by Saxon's Biff Byford and son Seb Byford of Naked Six. On July 23rd 2021, there’s going to be a new rock ‘n’ roll sheriff in town, and as their name suggests, Heavy Water aren’t for the light-hearted. Soaked in gritty, riff-baked blues, yet rich with the sound and metre of classic hard rock, Red Brick City’s ten songs refuses to let you go. From the taut, elastic swing of the ‘Solution’ riff to the rich, layered balladic strains of ‘Tree in the Wind’, Red Brick City moves with the class and cadence of a cracking journey uniting vintage rock ‘n’ roll sensibilities with the crackle and excitement of a fresh, youthful perspective.

With Seb on guitar and Biff on bass duties and both providing their vocal talents the foundations for Heavy Water’s sound are set in both that incredible father/son chemistry and a lifetime of know-how and experiences. Take the title track -and first single- ‘Red Brick City’, all steam and smoulder wrapped around a riff Soundgarden would’ve been proud of, and then there’s the sun-soaked smile of ‘Follow This Moment’ with harmonies evoking the Beach Boys relayed through Led Zeppelin, a gorgeous ‘70’s trip right down to the fade out. Produced by Seb Byford and Biff Byford, with Jacky Lehmann mastering, Red Brick City is a rich, lustrous ride through profoundly rewarding rock waters.

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

Albarika Store is home to many rare recordings, from more traditional folkloric and Sato styles, to the funk, blues and psych inspired workouts of the All Mighty Orchestre Poly Rythmo de Cotonou, as they referred to themselves. Many of the original records are sought after by DJs and collectors as prime examples of Afro-funk, Afro-Latin and Afropsych sounds.
The next in the series of reissues by Acid Jazz presents a straight reproduction of the incredibly hard to find Poly-Rythmo ‘Vol. 4’ album, originally from 1978.
For DJs and dancers this album has long been about the killer track ‘Aiha Ni Kpe We’, an incendiary Afrobeat recording which will activate any dancefloor anywhere. “Every time I listen to the Orchestre Poly Rythmo… Wow, I just discover something new in the music” - Gilles Peterson
This is the first exhaustive trawl of the archive and will see the label presented in a way that ensures its historical importance is recognized. Trips to West Africa have secured original master tapes and the process of transferring is ongoing. Over the next few years a comprehensive reissue campaign is planned.

Blue Vinyl

Speedcore pityless little bullet... 7'' ltd with one shot a side.

Unkown artist and untitled tunes