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Green Day’s Insomniac is finally old enough to rent a car (or whatever else you can do when you’re 25, we’re not lawyers), so in order to celebrate the album has been remastered, and we’re throwing in some bonus goodies to boot!

This vinyl double LP includes the cover art printed on prismatic silver foil as well as an additional LP with 8 rare or never previously released live tracks from the Prague stop of the Insomniac world tour on March 26, 1996 and an etched B-side.

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

 At the start of 2020, before the world turned to ash, several US publications began running glowing reviews of ‘Speed Kills’, the breakneck debut album from Chubby & The Gang, a West London punk troupe comprised of members of various bands associated with The New Wave of British Hardcore, among them Violent Reaction, Abolition, Big Cheese and more.

 At the time, the band - helmed by local electrician Charlie Manning - had developed a cult following in the UK, largely rooted in the cross-pollinating nature of the punk scene, select shows including dates with Sheer Mag and an impending, lastminute US run with Royal Hounds.

 ‘Speed Kills’, produced by Jonah Falco of Fucked Up, would go on to be called “the best punk-pop LP in recent memory” by Paste Magazine, a debut that “comes alive with liberating energy” in an 8.0 review from Pitchfork and full of “massive barroom gang choruses, power chords at breakneck tempos,
rock spelled R-A-W-K and visceral gratification” as Stereogum put it. Impressive going for a band at the time with no publicist, no big budget label backing and no industry clout, per se, beyond increasingly fervent underground support.

 Following the quietly blossoming success of ‘Speed Kills’, Chubby & The Gang now find a new home on Partisan Records (IDLES, Fontaines D.C., Laura Marling, Fela Kuti) who have reissued the album in remastered form with the unreleased cut ‘Union Dues’ included to boot and with new music on the horizon.

Recorded in late 1996 and released in early 1997, this first album from the power Brussels based trio Rawfrücht, defies and questions the definition of genres, eras and musical movements. Ranging from minimal meditative dronish soundscapes, perfect for introspective journeys, to more 'groovy' moments, from noise rock to free rock-but-not-postrock unstable patterns - sometimes even within a single track - this album is a ride on undefined roads, no maps allowed, just instinct and the energy to always go further and deeper into charting new sonic territoriesŠ

After the release of this first untitled album, names like those of Marc Ribot, Sonic Youth or King Crimson were frequently associated to it.

But this doesn't really define what this album, released for the first time on LP, really is about. Two guitars and drums. Swell Maps meet Parliament, shades of Hendrix. Can-erisms catching up with the ramblings of Gastr Del Sol. Secret & reserved side in the best tradition of the Chicago School: Tortoise, Rome etc.

Rawfrücht was: Hugues Warin and Teuk Henri (Sharko, Juniper Boots) on guitars and Thomas Van Cottom (Cabane, Venus) on drums. First time released on vinyl!

Despite having been one of the most devastating years in the history of electronic music culture, 2020 has also brought about some creative momentum for music producers worldwide. In the case of Space Echo, it presented an opportunity to complete their third EP for Luv Shack Records.

The energy fuelled “Cha-Cha” is a title track that boasts with all the elements we’ve come to expect from a Space Echo joint; uplifting live drums blended with a classic 4-to-the-floor beat, a funky syncopated bassline, motivational vocal chops and lots of grainy delay. This time however, the main theme is played by a live saxophone that seamlessly fits the formula by switching between rhythmic and melodic phrases throughout the track.

The B-Side takes us to the laid back funk that is “Another Dream”. This sombre slice of sunrise music is jam packed with lush rhodes, live bass and sax and quirky mellotron melodies to boot.

Polish sound wizard Das Komplex gives “Another Dream” the remix treatment, churning out an uptempo disco rendition that is meant to be played on balearic beaches and sweaty afterhours alike.

Gator Boots returns… On the A side, Roy deeply flipped and reinterpreted with underground appeal for the discerning DJ. On the B side, an absolute Wonder classic. Rounding it out 'Send a Letter', expanded and splashed out with lush pads, warmth and a lil' drum machine flex to boot!

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

With a little bit of research you'll realize that Ricky 1 actually didn’t come out on Bridge Boots but on thatmanmonkz imprint Shadeleaf back in 2015 and received loved from Matthew Dear and Sam Divine to name a few.

A little over 5 years later and Caserta is back with the sequel! Contrary to popular belief Caserta doesn’t usually 'edit' (with the exception of BB45003 release Diana). But he decided to bust out the ole’ Razor-N-Tape for the 40 year anniversary of this dancefloor classic! While anyone with party rock capabilities can improve on an already classic composition. 'Supa Engineer Caserta' made sure to take his time to take make sure the sonics went for 1981 to 2081.

The flip side delivers more of the tried and true Bridge Boots formula people have come to love with a hard hitting deep house joint sure to light up the dance floor once we start to put Roni-19 behind us!

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Debut from Norwegian artist Ole Kirkeng on Die With Your Boots On Records. Kirkeng has been living in New York for five years, but had to go home when the pandemic broke. He's been touring with Courtney Marie Andrews, Darling West and Molly Tuttle. He lived in Brooklyn where he wrote songs, worked in a studio and hung out with friends like Big Thief and Liz Cooper and the Stampede.

"I’ve had the pleasure of being a Fall fan since I was a teen.
I was lucky enough to have some guidance from my local record shop stoner-lords.
They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life.
The word prolific gets tossed around a lot.
It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self imposed job of judging releases for the rabble.
The Fall is subjected to this lazy word often.
Yet I can honestly say that I am SO thankful for any nugget of Fall that lands at my feet and in my brain.
Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry.

So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you.
Recorded during one of the many strong points in the bands vast and mighty history.
They really burn bright here and bring every ounce of what you expect from this formidable force.

We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings & help piecing it all together.
Castle Face will be donating 50% of our profits to Centrepoint which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too.

Nothing but the hits here folks and as raw as you dig it.
This one really is exceptional in terms of live sound for The Fall.
All the stars were aligned over St. Helens that eve.
And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” - John Dwyer

It’s out on Castle Face Records exclusively on vinyl (12” and a 7” in a gatefold jacket, including a digital download) on February 19th

Gold-certified bluegrass band The Dead South announce Served Live, their first double live album, available for pre-order now. Recorded during the Served Cold World Tour, which traveled the USA, UK and Ireland before the live music industry was shut down by the pandemic, Served Live is a full concert set list taped at iconic and beloved venues, from London’s Brixton Academy and Denver’s Mission Ballroom to The Belasco Theatre in LA. Featuring new material from the JUNO Award winning album Sugar & Joy, alongside the band’s top charting, global viral hits from previous records, Served Live puts you in the front row in your own home, where we hope you’ll stay safe. "We've often thought of ourselves primarily as live, performing artists as opposed to recording artists. Our studio albums exist as a reflection of and advertisement for what we really do, which is put on high-energy shows. While a "live recording" is a bit of a paradox, we're very excited to give our fans a glimpse of what we do best. If you've seen us before, we hope this record will in some small way bring you back to the sweaty, loud live experience we've all been missing. If you have yet to see us, we hope this record excites you to come see us in the (hopefully) near future.” Served Live will be released January 29, 2021 via Six Shooter Records.

"La Compil" is an annual production contest organised by the french label Nymphony Records. Every year, at the end of the contest, the label selects 5 house tracks and 5 techno tracks to release a compilation that is distributed everywhere in France.

Following on from a series of singles, 'Runnin' Wild', 'Confliction' and 'Jump The Line', First Word Records is very pleased to present a full-length EP from alt-soul artist Olivier St.Louis, produced by Oddisee - 'M.O.T.H. (Matters Of The Heartless)'

Olivier was born in Washington DC of Haitian and Cameroon heritage, but spent his teens studying in the UK. As a teenager, his CD and tape collection would encompass a wide range of genres, from hip hop and r&b to garage and British alternative rock. A bio-science student, Olivier couldn't suppress his true passion of music. After graduating, he took on a "Jekyll and Hyde" lifestyle; working as a scientist in the day, and a musician at night.

His work as a recording artist eventually lead to his debut release in 2011, 'The Mr. Saint Louis EP', released under the moniker Olivier Daysoul and produced by longtime collaborator and fellow Washingtonian, Oddisee, a revered hip hop producer / artist in his own right. From here on, Olivier began laying down vocals, collaborating and touring with a wide-range of artists over the following years, including Hudson Mohawke, C2C, Laura Mvula and German rockers, AnnenMayKantereit.

After taking a hiatus from feature work, Olivier decided to concentrate on nurturing his own sound. Embracing a newfound love for blues, rock and funk, a series of late night sessions saw him engulfed in new soundscapes, and reverting back to his birth name, Olivier St.Louis. This saw him release two critically-acclaimed EPs with Berlin-based label, Jakarta, and the release of 'The Serious EP' with Bibio on Warp Records.

Following world tours with many of the afore-mentioned, Olivier has been working on all-new material, which is now set to be unleashed upon the world via Worldwide Award-winning London label, First Word Records.

The 'M.O.T.H.' EP begins with the downtempo bump of 'Jump The Line' before the adrenaline-racing rhythm of 'Runnin Wild' steps up the pace. Next is second single 'Confliction'; a considerably moodier affair, with Oddisee on assist on the bars as well as on the boards. The flipside begins on a similar vein as the first with the smoothed-out soul of 'All In Love', before we head into the slightly jazzier tinged 'Quit'. 'Serotonin' follows next with a groove and bassline reminiscent of Sly Stone, before we close out with the feel-good uptempo boogie stepper, 'Steady'. With Oddisee on the boards throughout, this EP exemplifies Olivier's unique take on alternative soul.

Comparisons have already been made to something between D'Angelo and Shuggie Otis - big boots to fill, though easy to believe once you've seen and heard this man do his thing. This EP is essentially a classically-structured selection of soul-funk with a rock edge, and a touch of jazz. Each track is laced with Olivier's sweet harmonies and fuzzed-out guitar licks throughout, and mixed down with a little 2020 boom bap thump. A prime example of Olivier's unique talents and a set of quality contemporary alt-soul.

When asked his thoughts on his artistry, Olivier St. Louis simply states "no punches pulled, no compromises, just me".

'M.O.T.H. (Matters Of The Heartless)' is released via First Word Records in January 2021.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. While Kraftwerk wrote international music history mainly in the 1970s with cult albums such as Autobahn (1974), Radio-Aktivität (1975), Trans Europa Express (1977) and Die Mensch-Maschine (1978), U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as ‘Das Boot’, ‘Love Sees No Colour’, ‘Night In Motion’ and ‘Heaven’. Transhuman, scheduled for release on UNLTD Recordings on 30th October 2020, will feature a spectacular collaboration between U96 (Ingo Hauss

& Hayo Lewerentz) and Wolfgang Flür, Kraftwerk’s drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf.

This remarkable cooperation was first announced and implemented by two joint numbers on U96’s 2018 offering Reboot. Transhuman sees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song ‘Transhuman’ and an updated version of ‘Zukunftsmusik (Radiophonique)’ will be released as lead singles, including, as we’ve come to expect from U96, experimental video clips. That New York record label Radikal Records immediately secured the rights to the album for the US and Canada points to major interest in this project, not only on these shores but also across the Atlantic.

“Transhuman is a stylistic mélange of our different histories,” describe Wolfgang Flür and U96 masterminds Hauss and Lewerentz an offering that is spectacular in many respects, featuring, along with typical U96 tracks such as ‘Clone’ and ‘Specimen’, numbers such as ‘Transhuman’, ‘Planet In Fever’ and ‘Sexersizer’ that are inspired by Flür’s past. Notably, the content has been reduced to the sheer basics, in other words: sparingly used associative statements with deep, but at times also playful and mysterious messages that the listener feels rather than consciously registers. The lyrics are about the transformation of people through technology and our massive interference in life on our planet. Hauss: “Pieces like ‘Zukunftsmusik’ and ‘Transhuman’ don’t tell a story in the classic sense, they articulate emotions and associations in very few words, bringing to mind recordings such as Radio-Aktivität, Autobahn and Die Mensch-Maschine. In addition Transhuman, features a number of melodies created on the basis of computer algorithms, in other words fractal music which takes us even further back in history, to Klaus Schulze, Stockhausen, the electronics laboratories of the fifties and sixties and the musique concrete compositional technique.”

THESE BOOTS ARE MADE FOR WALKING 1970

Issued on 7" vinyl for the first time, this is a licensed release of the song extracted from the "Skinhead Moonstomp" LP on Trojan Records in 1970, 50 years ago.

This is a cracking Boss Reggae cover of Nancy Sinatra's mega hit and a huge early Reggae anthem.

Incredibly this very much in demand song has never been released on 7" vinyl up to now!

THAT IS NICE 1971 - That is Nice has only been available on the "Skinhead Moonstomp" Special Edition CD.

This is a Symarip original and it is the complete opposite of "These Boots Are Made For Walking".

Here the gritty voice of Roy Ellis serves admirably the sad, pensive melody and simple lyrics of this melancholic love ballad. Simply beautiful.

A very rare gem and a perfect finish to this outstanding double sider single.

ENDLICH....das Live-Album der Bluegrass/Folk-Helden mit 17 Songs! Vor über 6 Jahren entdeckten wir die vier Gentlemen von THE DEAD SOUTH aus Regina, Saskatchewan während der Canadian Music Week in Toronto sehr spät am Abend in einem eher spärlich gefüllten Club. Unsere Begeisterung wurde von einer Vertragsunterzeichnung begleitet und so veröffentlichten wir im November 2014 ihr Debütalbum "Good Company". Natürlich sind wir ziemlich stolz, dass wir eine Indie- Erfolgsgeschichte mit der Band schreiben konnten, die nun mit einem Doppel-Live- Album namens "Served Live" gefeiert wird. Natürlich ist die Idee nicht ganz neu, aber wenn es bei einer Band doch Sinn macht, dann bei The Dead South, denn ihre Live-Shows sind schon jetzt recht legendär und vor allem auf der Bühne zeigen sich ihre Stärken, die doch recht schwer auf einem Studioalbum zur Geltung kommen: unbändige Spielfreude, eine genre-sprengende Live-Dynamik, eine gute Prise Humor sowie ein sich gegenseitiges Pushen sind nur einige Attribute, die mir gerade so einfallen wollen. Die "Die-Hard-Fans" der Band werden natürlich nicht 100%ig zufrieden sein, da trotz lediglich drei Studioalben sicher der eine oder andere Song fehlt - mir vor allem _ÇÜGunslinger's Glory', aber dieser ist halt auch sehr lang. Auch sind einige ihrer Cover- Versionen von Bands wie den Animals, The Decemberists oder diverse Tradionals Teil ihrer Live-Sets, aber hier sollten es halt nur eigene Songs auf die Platten bzw. CDs schaffen. Die 17 Songs auf "Served Live" wurden auf 17 verschiedenen Shows mitgeschnitten, denn die Band wollte so vielen Fans wie möglich ein kleines Dankeschön sagen, aber leider hat Covid-19 diesem Unterfangen einen für uns bedeutenden Strich durch die berühmte Rechnung gemacht und es fehlen jegliche Deutschland-Shows, wohingegen USA (L.A., Seattle, Portland, Boston, Atlanta, Denver, NY), GB (Manchester, London, Newcastle, Portsmouth, Belfast, Dublin) und ihre Heimat Kanada (Edmonton, Halifax, Montreal) vertreten sind. "Served Live" ein unglaublich energetisches und authentisches Live-Dokument, das auch hiesigen Fans von The Dead South sehr viel Freude bereiten wird und ein warmes Trostpflaster für die Zeit des Wartens auf die nächste Tour.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + INSERT WITH LINER NOTES
+ RESEALABLE OUTER SLEEVE.



Christopher were an underground acid rock trio featuring future Josefus drummer Doug Tull. They evolved from United Gas, a psychedelic band from Houston who rubbed shoulders with legends like The 13th Floor Elevators and Moving Sidewalks . After relocating to Los Angeles - where they changed his name to Christopher - they played at numerous biker parties and recorded their sole album in 1970 for the Metromedia label. It’s an amazing example of West Coast psychedelia / acid-rock featuring strong fuzz-wah guitar, great compositions and superb musicianship. It was housed in a terrific cover depicting the band at the same hippie crash-pad where some scenes from the “The Trip” movie were filmed.



One of the holy grails of American psychedelic-rock and the rarest album originally released by the collectable Metromedia label.



Remastered sound, original artwork, insert with liner notes.



Note: This is the only legitimate, fully-authorized vinyl reissue of Christopher in the current market. Beware of inferior, low-quality bootlegs.

NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + INSERT WITH LINER NOTES
+ RESEALABLE OUTER SLEEVE.

Ultimate US hard-psychedelic / proto-prog burner from 1971!!

Obscure Sabbath-esque hard-rock band Salem Mass self-released their only album in 1971. Recorded at a beer bar converted studio, “Witch Burning” consists of seven tracks full of ripping guitar, crazy Moog attacks, heavy keyboards, demented vocals and Satanic / Occult related lyrics, especially in the mindblowing ten minute long title track.



*Original artwork.



*Remastered sound from the original masters, insert with liner notes and rare photos / memorabilia.



Note: This is the only fully-authorized vinyl reissue of Salem Mass in the current market. Beware of inferior, low-quality bootlegs.

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing. To complete the lineup, the band recruited bassist Michael McKeegan.

1994 saw the release of the commercially successful Troublegum album which earned the band appearances at a string of rock and indie festivals, including Reading, Donington and Phoenix in the UK alone, as well as a clutch of top
40 singles. It achieved a string of nominations in end-of-year polls, including a
Mercury Music Prize nomination, and success at the Kerrang! Awards.

The album has a melodically dark, metal-like sound. Troublegum is generally considered to be Therapy? at their musical and commercial peak and has since sold over one million copies worldwide.

The album includes singles and videos for “Screamager”, “Turn”, “Nowhere”, “Trigger Inside”, “Die Laughing” and “Isolation” (Joy Division cover).

Casbah 73 makes his Glitterbox Recordings debut with an insatiably funky slice of disco soul ‘Love Saves The Day’. Driven by a soul-filled vocal hook from Angela Goode, this timeless jam’s authenticity lies in its rawness, sounding like it’s been ripped straight from a 1970s dancefloor while maintaining a freshness for today’s listeners. This special 12” delivery includes two stellar re-works, opening with master of the disco edit Danny Krivit’s funk-fuelled mix that smacks with New York City flare, bubbling keys and slap bass breakdowns to boot. The snapping Percussion Jam closes out the A-Side, before Chicago’s Rahaan takes control on the flip, taking the vintage sounding original and transforming it into a pumping, modern disco cut. Finally Casbah 73’s original rounds off the 12”, completing this package that is a must have for any discerning disco DJ.

*Repress*

Detroit Downriver native, Erick McShane, a.k.a. DJ E. Dubb, first made his mark onto the scene in
1998. Known for spinning ghettotech, E. Dubb was featured on the unreleased DJ Slugo single "Booty
Bass."

Soulful house and techno versions of a classic song not sung by the artist you would think! Caserta welcomes JoDaCe to the BB imprint!

Icelandic contemporary composer Olafur Arnalds created and released a new song, one per day for one for one whole week during the month of October 2011. The songs were recorded and filmed live in the living room of his Reykjavik apartment and released instantly for free as streamed videos and mp3 downloads. Thousands of fans followed this exciting project online at: livingroomsongs.olafurarnalds Living Room Songs will now also be released on CD, Vinyl and as High Quality Downloads via Erased Tapes on December 5th, 2011. Following in the spirit of ?lafur Arnalds' critically acclaimed Found Songs (2009) where he wrote, recorded and released a free song every day for a week - now comes Living Room Songs. This time ?lafur takes the idea further and invites the audience into the comfort of his living room, where the songs were recorded live and the whole process filmed. The songs were instantly released in form of a free mp3 download and video stream- straight from ?lafur's Reykjavik apartment. In his own words: 'One night I was just playing my piano here in this apartment and I was writing a new song and I didn't have my phone on me which I usually use to record ideas. So I actually took out my MacBook and I didn't want to open like a proper recording program, so I just opened Photo Booth and recorded a video of myself playing the song so that I would remember the song. And I really liked the atmosphere of that video and that's when I thought I should do a series of songs in my living room...' ? ?lafur Arnalds

Fred broke out on scene with his slept on debut, the crossover soul gem "Love Can Last Forever" in 2016. After a four year hiatus between releases, it's time for his sophomore single "Sweet Thing", and it's clear that his talent is like fine wine, a thing that needs its time. Since his premier release kicked off Stylart, the Timmion sublabel, Cold Diamond & Mink has put soul on the table with a steady pace and from this new track it's clear that they shine some special love for Fred.

As a result,"Sweet Thing" is as lush as it comes with a shimmering electric piano, horns on full blast and strings to boot. When fused with Fred's delicate delivery, passionate lyrics, overdubs and a mid-tempo soul dance groove, it all really comes together. There's a gentle southern breeze in the air and can we really demand less from Espoo's finest.

We are nowhere nearer to cracking the enigma of Fred's personality, but he does seem less complicated than on his first release. "Sweet Thing" is exactly what it sounds like, a soothing piece of soulful sunshine. Something to enjoy in good company.

Fred broke out on scene with his slept on debut, the crossover soul gem "Love Can Last Forever" in 2016. After a four year hiatus between releases, it's time for his sophomore single "Sweet Thing", and it's clear that his talent is like fine wine, a thing that needs its time. Since his premier release kicked off Stylart, the Timmion sublabel, Cold Diamond & Mink has put soul on the table with a steady pace and from this new track it's clear that they shine some special love for Fred.

As a result,"Sweet Thing" is as lush as it comes with a shimmering electric piano, horns on full blast and strings to boot. When fused with Fred's delicate delivery, passionate lyrics, overdubs and a mid-tempo soul dance groove, it all really comes together. There's a gentle southern breeze in the air and can we really demand less from Espoo's finest.

We are nowhere nearer to cracking the enigma of Fred's personality, but he does seem less complicated than on his first release. "Sweet Thing" is exactly what it sounds like, a soothing piece of soulful sunshine. Something to enjoy in good company.

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures.

On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single – this is concise brilliance with no flab whatsoever.

Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn well-worn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric.

‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album.

Heavily bootlegged, this is the first official double-sided 7” release bringing together both these foundational cuts.

By 1995 Kwaito was already a well established and distinguishable sound compared to the International House Remixes that preceded. The tempo was slowed down, Soulful vocal samples were replaced by catchy and repetitive hooks and versus sang in vernacular. The new hit sound had a template and studios worked around the clock to pump fresh releases into the demanding market.

After the successful 1995 release of Import mixes Vol 4, The Groove City team behind the productions now decided to venture into the territory of Mid Tempo. They would craft an album for a young frontman with the help of Kwaito pioneer Oscar Warona, and without much trouble, the team had their first hit on their hands. Filling the boots of their cars with copies of the cassettes and taking the stock to various townships around Johannesburg the tape quickly circulated and sold out every new batch that was printed. Demand was high for the release but as with much of the music at the time, the fast paced demand for the music moved on. Without a follow up release Scotch failed to ride the momentum built by the debut and remained largely unknown although he is still in the music industry to this day.

Even with their first artist release being a success, the following years proved more difficult in reaching such a large audience for the Kaleidosound studio. With popularity for the genre growing, the simple templates for early classics were changing as Kwaito fused with hip hop. Rapping took over as the preferred vocals for the masses. Mysterious production teams and labels that served as guides for music lovers were eclipsed by frontmen and groups that could draw crowds. The fight for fresh sounds continued as the airwaves became the main battleground for artists and the more club oriented music was pushed back underground, eventually evolving into some of the earliest examples of Deep House seen on the continent. The Kaleidosound production team would finally strike gold again in 1997 when reviving Groove City for vol. 5 which acted as the debut for the newly formed group Chiskop. The group would become superstars of the new commercial era that followed, sparking solo careers for the members and creating some of the biggest hits the genre knew.

To this day Scotch remains one of the best albums to come out of the golden era of Kwaito. Although it was outperformed by other groups from the time it has a special place for those who knew it and can still be found as a treasured piece in many collections. The various people involved created a one off fusion of sound that has remained fresh for 25 years. Playful lyrics over floaty grooves resulted in favourites like “Jam Alley” which uses catch phrases from the beloved TV show and “Bafana Bafana” guaranteed to get the boys on the dance floor. Here you have these two tracks taken from the album pressed on a club ready Maxi Single for the Deejays

This record began as a mystery D.O.S. 12” release in September asking questions was it new, was it old, was it a bootleg? Who are D.O.S?? Soon the limited edition 12” pressing release serviced to a handful of DJs and tastemakers was commanding £100 online. The record is a re-make of a Carmen Amez disco/boogie record from 1983 which itself trades for over £200 on a questionable quality pressing that demanded such a great dance record should be freshly re-recorded with strings, horns, bells, whistles and Vanessa Haynes on vocals. The song was originally a Paul Anka composition/recording, but is now out again here by Diplomats Of Soul in collaboration with Incognito’s Bluey with an outstanding cast of UK musicians. D.O.S. and Bluey previously worked together on renditions of “Sweet Power Your Embrace” and “Brighter Tomorrow”. Puzzle solved and record now available.

Be not afraid! Whether you’re simply sightseeing, enjoying temporary flights of fancy or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator’s vast expertise of multiple global entry points and various modes of interdimensional transport informs a rich tapestry of tips, tricks and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck."

5LP Boxset featuring classic tracks from across the catalogue of reggae’s greatest superstar.

Soul/Disco/Funk single here for the first time ever on vinyl! The independent label Six Nine Records Ltd. UK, based in Newcastle upon
Tyne, proudly presents J Daw featuring Tim Tucker and SkyFunker and the two magnificent electro boogie tracks "Flying First Class" and "Shake That Fnkn Booty”. Definitely not to be missed as it is a limited UK press with small hole and full colour printed picture cover!

East London-born music legend and all round boundary-breaking innovator, Dizzee Rascal, today announces the release of his 7th studio album, entitled ‘E3 AF’ and new single ‘L.L.L.L (Love Life Live Large)’, out via Island Records.

This new release marks the genesis of a new era for Dizzee and is the first album wholly written, recorded and produced in the UK in over a decade. ‘E3 AF’ is a 10-track layered, purposeful statement of intent, rooted in Dizzee’s inedible ties to both east London and Black British music’s legacy. He sound is sharper, stronger and more self-assured than ever, and it is obvious that he has poured the creative energy of the past few years into ‘E3 AF’ as a body of work. First single, L.L.L.L (Love Life Live Large), features Tottenham born MC Chip and kicks open the door with the force of a steel toe capped boot. Chip, adds another thwack of bravado to the rumbling, Dizzee-produced beat. ‘E3 AF’ confirms Dizzee’s status as an artist still very much in his prime, sonically it draws on the infectious pace of grime and resolutely forward-thinking UK rap. From one song to the next, you are taken on a journey through Black British musical excellence. Ice-cold UK drill drips on Smoke Boys-featuring ‘Act Like You Know’ (produced by MK the Plug) and Eastside pulses with pure grime courtesy of Chubby Dreadz and Platinum 45. Self-produced opener ‘God Knows’ (featuring P Money) and high-octane ‘You Don’t Know’ pull from dubstep, grime and drum ‘n’ bass while threatening to wreak havoc with your speakers. By the time Alicai Harley’s warm up vocals float over sunny syths on the deeply personal ‘Energies + Powers’ (produced by Steel Banglez), the album practically radiates heat. Dizzee Rascal is a unique artist that has inspired many for multiple generations. From his 2003 debut album release, the Mercury Prize-winning ‘Boy In The Corner’ to date, Dizzee has continued to push expectations and boundaries. He is British musical royalty. Every album that followed stacked up another marker of success. Between 2004 and 2017 all album releases blasted firmly into the Top 10 Official album chart, won awards, critical acclaim and amassed Dizzee a huge following of devoted fans. ‘E3 AF’ is set to confirm Dizzee Rascal’s status as the master at the top of his game.