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Dillinger one of the most consistently successful DJ’s to come out of the Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.

Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working asa DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.

We have taken our set of tunes from his classic 70’s period when Mr Dillinger could do no wrong.Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.

A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..

Mwandishi is one of Herbie Hancock's first departures from his traditional jazz sounds. The album which was recorded in a single session on New Year's Eve is a much more spacier effort compared to his earlier works, created by Hancock's us of electronic effects devices. His sextet is the most progressive ensemble he played with and he took the next step in the future of jazz. The music on Mwandishi is beautifully atmospheric and the long tracks leave plenty of space for improvisations by the group. A fantastic recording with sonic layers of earth, existence and expression.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the music into new territories. The overt message of Stop The Genocide! is besieged by violence before Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.

”The Birth of Bop” kann ab heute hier vorbestellt werden und erscheint am 31. März in verschiedenen Formaten, darunter ein Vinyl-Boxset mit fünf 10-Zoll-LPs, ein 2-CD-Format und digitale Editionen. Jeder Titel der Sammlung wurde von Joe Tarantino bei Joe Tarantino Mastering frisch restauriert und neu gemastert, während die physischen Formate neue, ausführliche Liner Notes des GRAMMY-gekrönten Autors und Moderators Neil Tesser sowie alte Fotos aus dieser Zeit enthalten. Es ist eine unverzichtbare Einführung in
diese wichtige Periode der Jazzmusik: The Savoy 10-Inch LP Collection enthält 30 ausgewählte Aufnahmen von vielen der Pioniere des Genres, darunter Charlie Parker, Dexter Gordon, Stan Getz, Milt Jackson, Allen Eager, Fats Navarro und viele mehr.
Diese bahnbrechenden Aufnahmen aus den Jahren 1944 bis 1949
trugen maßgeblich zur Entwicklung des modernen Jazz bei und brachten junge Künstler dazu, die Grenzen des Genres in einer Zeit zu erforschen, in der Swingmusik der vorherrschende Sound war und Big Bands den Äther beherrschten.

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

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Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.

Waxwork Records is thrilled to release BUBBA HO-TEP Original Motion Picture Music by Brian Tyler for the first time on vinyl! Bubba Ho-Tep is a 2002 American Comedy Horror film written, co-produced, and directed by Don Coscarelli (Phantasm). It stars Bruce Campbell (Evil Dead 1 & 2, Army of Darkness) as Sebastian Haff, a man residing in a nursing home who claims to be the real Elvis Presley.

The film also stars Ossie Davis as Jack, a black man who claims to be John F. Kennedy. While the novella of the same name by Joe R. Lansdale and the film revolve around an ancient Egyptian mummy terrorizing a retirement home, Bubba Ho-Tep also deals with the deeper theme of aging, identity, mortality, and existentialism. The film also features a cameo by Reggie Bannister from Coscarelli's Phantasm series. Waxwork Records is proud to release the debut vinyl album of the outstanding soundtrack by Brian Tyler (Scream VI, Six String Samurai, Ready or Not) as a deluxe album featuring Egyptian Sand & Silver swirl colored vinyl, heavyweight gatefold packaging, new artwork by JJ Harrison, and an 11"x11" art print insert. BUBBA HO-TEP Original Motion Picture Soundtrack Features:

d A4 I Before E Except After C; Voice [Extra Chit-chat] – Eric's Mum; Written-By – Clarke*

[f] A6 In My Room; Noises, Producer [Additional Production] – Daniel Miller; Voice [Extra Chit-chat] – D. Davis (2); Written-By – Clarke*




[d] A4 I Before E Except After C; Voice [Extra Chit-chat] – Eric's Mum; Written-By – Clarke*

[f] A6 In My Room; Noises, Producer [Additional Production] – Daniel Miller; Voice [Extra Chit-chat] – D. Davis (2); Written-By – Clarke*

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.

THE SPEAKER WARS, an American rock band formed by Stan Lynch and Jon Christopher Davis, brings a unique blend of rock, country, and gospel influences to their debut self-titled release, the product of a longstanding collaboration. Stan Lynch, a founding member of Tom Petty and the Heartbreakers and Rock and Roll Hall of Fame drummer, has contributed his talents as a songwriter, producer, and multi-instrumentalist, drawing on his work with Don Henley, Ringo Starr, The Byrds, and many others. Lynch produced, engineered, and mixed the album, lending guitar, keyboard, bass, and vocal skills to the mix. Jon Christopher Davis, a seasoned singer-songwriter from Dallas, honed his craft in Nashville, writing songs for icons like Dolly Parton, Timothy B. Schmit, and Vince Gill. Davis, known for his soulful lead vocals, fronts the band and adds guitar, bass, and keyboard layers to their distinct sound. The band’s live lineup features Lynch on drums, Davis on guitar, and additional musicians Jay Brown, Brian Patterson, Steve Ritter, and Jay Michael Smith, creating a dynamic stage presence.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Carlos Santana ist der große musikalische Kollaborateur, der seinen einzigartigen Gitarrenstil und seine weitreichende musikalische Vision mit einer großen Vielfalt von Künstlern verbindet, um etwas Neues, Einzigartiges und Transzendentes zu schaffen. Santanas Vision für Sentient war es, seine jüngsten Kollaborationen aus einer neuen Perspektive zu betrachten und sie zu einer klanglichen Pilgerreise durch Jazz, Hip-Hop, Soul, Rock und lateinamerikanische Rhythmen zu verweben. Er hat die Songs nicht nur so arrangiert, dass sie seiner Vision entsprechen, sondern viele von ihnen auch neu interpretiert und einige Aspekte der Tracks verbessert, um ein kohärentes Hörerlebnis zu schaffen. Die Songs auf Sentient reichen von aktuellen Hits und Kollaborationen mit Superstars bis hin zu seltenen, unveröffentlichten und übersehenen Tracks, die Carlos in einem neuen Kontext präsentieren wollte. Das Ergebnis ist eine spirituelle Reise durch die unendlichen Möglichkeiten der Musik, geführt von Santanas kompromissloser Muse.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting

We don’t need to recap a questing musical career from the Jam to the Style Council and then blossoming into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.

Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.

Ace Records are honoured and delighted to finally release that Paul Weller curated collection which he has aptly titled, “That Sweet Sweet Music”.

This 2-LP set and CD open the curtains on 26 tracks that are some of Paul’s favourite soul records most of which nestle on vinyl in his own collection. He can still recall paying £70 for his copy of Jon Lucien’s 1971 ‘Search For The Inner Self’ 7” at a record shop in Leicester in the 90s. Some of these tracks are soul classics like James Carr’s 1966 ‘Pouring Water On A Drowning Man’ and Brother to Brother’s brilliant take on Gil Scott Heron and Brian Jackson’s ‘In The Bottle’ from 1974. Others are deliciously obscure wonderous gems like the A-side of Blackrock’s sole 1971 single ‘Blackrock “Yeah, Yeah”’, ‘Life Walked Out’ from the same year by the Mist or Syl Johnson’s ‘Black Balloons’ taken from his 1970 album “Is It Because I’m Black?”.

There are plenty of big vocal hitters such as Darrell Banks, Spinners, Joe Simon, O.C. Smith, the Dells and Betty Davis. Whilst the core is vocal soul the music does branch out with Paul selecting a wicked instrumental from the flipside of the Isley Brothers’ ‘Twist & Shout’ from 1962 and the funky jazz of the Headhunters ‘God Made Me Funky’, the A-side of their first 1975 seven-inch.

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

Reverend Gary Davis aus Laurens, South Carolina war Singer-Songwriter, Gitarrist
und ein wahrer Virtuose des Piemont-Blues-Fingerpicking-Stils. Jack White
erwähnte ihn als einen seiner Gitarrenhelden in der Dokumentation It Might Get Loud
und zeigte darin den Videoclip von Death Don't Have No Mercy (He'll come to your
house and he won't stay long).
Blind Gary Davies spielte Gitarre mit Daumen und Zeigefinger auf eine Weise, die nur
ein blinder Mann spielen kann. Viele seiner Songs wurden im Laufe der Zeit von
internationalen Künstlern gecovert; unter anderem gehören The Grateful Dead und Bob
Dylan zu den Interpreten, die durch ihre Davis-Interpretationen dem blinden Virtuosen
Ehre erwiesen. Harlem Street Singer beinhaltet seine größten Hits, die bis heute
populär sind.

PRESSED ON RED SMOKE COLORED VINYL

Starting in the late 60s, jazz music started to take an interesting, and very soulful turn. Influenced by the funk of the day – from James Brown to Sly & The Family Stone – the art form, generally not considered a funky musical genre, started to stretch out and fit into the times. It was a fertile era, and to reciprocate, funk, soul and groovy rock fans started to discover accomplished, open-minded jazz artists like Les McCann, whose tunes made sense to their ears, even if bebop hadn’t grabbed them. This incredible album – long a favorite of forward-thinking hip-hop producers and DJs – washes over listeners from the first chords of the incredible album opener, “Sometimes I Cry,” led by McCann’s array of analog synthesizers and backed by an excellent rhythm section (Donald Dean on drums; Ralph McDonald on percussion and Jimmy Rowser on bass). Truth be told, highlights are hard to pick out, but fans never go long without returning to the fuzzed-out funk of “The Harlem Buck Strut Dance,” “Let’s Play (Til Mom Calls)” and “It Never Stopped In My Hometown.” These keyboard-drenched grooves sat alongside record stacks brimming with Stevie Wonder, Funkadelic, Marvin Gaye’s 70s soul and, of course, Miles Davis’ space funk experiments of the era (like Bitches Brew).

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

Released in 1957 on Prestige Records, Walkin’ features a collection of songs that were originally released in 1954. With Davis on trumpet and as band leader, the recordings also feature Horace Silver, Lucky Thompson, J.J. Johnson, Percy Heath and Kenny Clarke. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

LRK Records is excited to announce the highly anticipated reissue of Claire Davis' iconic single, 'Thrive/Playground.' Originally released as a limited edition black vinyl 45, this pressing sold out in just 24 hours and has since become a highly sought-after collector's item. Due to overwhelming demand, we're bringing it back for a limited repress on blue coloured vinyl—so don't miss out again!

Featuring Claire's signature blend of emotive lyrics and captivating melodies, 'Thrive/Playground' showcases her undeniable talent and artistry. Whether you're a long-time fan or discovering Claire's music for the first time, this repress is a must-have for any vinyl collection.

In February 2023, multi-instrumentalist, producer, songwriter, and “genre-defying melody man” (Billboard) Amtrac released his highly-anticipated third album ‘Extra Time’ via Openers.

Inspired by a period of deep reflection during the 2020 lockdowns, ‘Extra Time’ consists of a handcrafted fuse of delicate textures and gritty styles into an unfiltered sonic trip, with each song depicting the process of emotions during a time of uncertainty for the future. It’s a 13-track exploration of forced introspection, a cohesive story that finishes with a surreal feeling of hope.

Amtrac stated: “I made this record to encompass what I was feeling during the times of uncertainty in the world, it helped me cope and was my outlet for everything I was going through. When the listener is done with this album I’m hoping to create the feeling of when you left the movie theater as a child and just saw something that made you think differently.”

Designed to mimic the tension and release of a classic film score, the unique sound of ‘Extra Time’ was heavily influenced by Amtrac’s immersion in the worlds of Jazz and 90s video game music, particularly the classic 90s computer game Grim Fandango and the sonic landscapes of Miles Davis and Stanley Turrentine in addition to the groundbreaking work of fellow electronic pioneers such as Bonobo and Dan Snaith.

Album highlights include kickoff track “Heard Me Right” which was described by Billboard as a “moving mix of rhythmic bass lines and atmospheric melodies”, “Contrast” featuring vocalist Reva Devito, and “Domino” featuring Future Islands frontman Samuel T. Herring that Fangoria described as “like John Carpenter and Basement Jaxx had a baby”. The album also features vocals from his friend Naeem, who worked closely with Amtrac on the jazzy and suspended-in-time groove of “Hesitation.” “Nobody Else” flips a vocal from the Four Tops classic “I Can’t Help Myself” over energetic drums and sultry guitar, and “Dancing With You” unfolds with traditional house elements toward an explosive climax of layered synths. Having made his name with intense DJ sets and creative remixes and collaborations, ‘Extra Time’ is the perfect showcase for Amtrac’s trademark stylistic dexterity and melodic sensitivity - and redefines what it means to create electronic music in 2023.

This follows his collab with Diplo and Leon Bridges on “High Rise” and the recent release of “I’ll Be Around”, his collaboration with English vocalist/producer Elderbrook.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

Released to celebrate the 70th Anniversary of these sessions and the 75th Anniversary of Prestige Records, “Miles ’54” brings together 20 tracks recorded by the saxophone legend in 1954, across 4LPs.

Including cuts from the albums “Miles Davis with Sonny Rollins,” “Miles Davis Quintet,” “Miles Davis All Star Sextet,” and “Miles Davis Quartet” the album features Sonny Rollins, Charles Mingus, Horace Silver, Art Blakey, Thelonious Monk and more. Included are new liner notes by GRAMMY® Award-winning music historian Ashley Kahn and session notes by Dan Morgenstern, with mastering by Paul Blakemore.

Der Produktionsstil von Anthony ,Ant" Davis wird oft für seine reichhaltigen, strukturierten Klanglandschaften, die Vintage- und soulige Elemente mit einer tiefenemotionalen Resonanz vereinen, in Verbindung gebracht. Der zweite Teil seiner Instrumental-Serie, "Collection of Sounds: Vol. 2", bietet sanfte Beats, komplizierte Samples und üppige, jazzige Schichten, die eine eindringliche Atmosphäre schaffen. Hier hat er schlaue Riffs und funkige Grooves eingeflochten, die seine Fähigkeit unterstreichen, emotionale und einnehmende Musik zu kreieren. Das Ergebnis ist ein klanglich komplexes Album auf dem Ant mit einer nahtlosen Mischung aus Funk, Soul, klassischem R&B und Hip-Hop-Einflüssen ein nostalgisches Gefühl für vergangene musikalische Epochen erweckt.

Auf dieser Tribute-Compilation finden sich Interpretationen von Margo-Guryan-Songs von TOPS, Rahill, Clairo, June McDoom, MUNYA und Kainalu, Frankie Cosmos und Good Morning, Kate Bollinger, Pearl & The Oysters, Bedouine und Sylvie, Empress Of, Barrie, und Margo Price. Die meisten unserer Geschichten über Kultmusiker, die ein oder zwei Alben machen und dann zu verschwinden scheinen, sind von Trauer, Verzweiflung und ausgefranstem Ehrgeiz umrahmt. Nicht so bei Margo Guryan, einer begeisterten Jazz-Ausnahmeerscheinung, die Popmusik verachtete, bis sie 1966 „God Only Knows“ hörte, das ihr ein Fenster zu den Wundern öffnete, die diese Musik-Form enthalten konnte. Nur zwei Jahre später veröffentlichte sie auf dem Album „Take a Picture“ ihre eigenen kleinen Popsinfonien und erntete dafür großes Lob und hohe Erwartungen. Aber da sie sich bereits von dem Posaunisten Bob Brookmeyer hatte scheiden lassen, lehnte sie es ab, ein Musikerleben zu führen und auf Tournee zu gehen oder auch nur darüber zu sprechen. Ihre Zurückhaltung führte dazu, dass „Take a Picture“ bald in den Regalen der Discounter und letztlich in den Mülleimern landete. Sie schrieb weiterhin Songs und nahm noch jahrelang auf, arbeitete sogar mit der Band von Neil Diamond zusammen, aber meistens schien sie mit ihrem relativ privaten Leben zufrieden zu sein. Wie es sich für eine so atemberaubende und subtile Musik gehört, erlebte die 2021 verstorbene Guryan in den letzten sechs Jahrzehnten mehrere Wiederauferstehungen. Und jetzt geschieht es wieder: Kurz nachdem ihre fast geflüsterte und liebeskranke Hymne „Why Do I Cry“ sie 2021, im selben Jahr, in dem sie starb, zum TikTok-Star machte, startete die Numero Group eine Wiederveröffentlichungskampagne, aus der 2024 das hochgelobte Set „Words and Music“ hervorging. Und jetzt haben ein Dutzend Künstler - von denen keiner geboren war, als „Take a Picture“ entstand - das gesamte Album (plus einen Bonustrack) für „Like Someone I Know: A Celebration of Margo Guryan“ neu interpretiert. Empress Of, Margo Price, Clairo, June McDoom: Sie alle bestätigen Guryans Schärfe als Songwriterin und die Brillanz eines Albums, das den Werbezyklus, den Guryan vor so langer Zeit ablehnte, bei weitem übertroffen hat. Guryan wurde in einer weitläufigen Familie in Far Rockaway geboren, als der Ort noch größtenteils von Bäumen umrahmt war. Während ihres Kompositionsstudiums an der Boston University stolperte Guryan in einen Auftritt als Pianistin zwischen den Konzerten des Miles Davis Quintet, unterschrieb einen Vertrag als Songwriterin bei Atlantic Records und verpatzte eine Session mit Nesuhi Ertegun. Aber sie war nicht darauf aus, ein Gesangsstar zu werden. 1959 ging sie an die Lenox School of Jazz in den Berkshires, um für Ornette Coleman und Don Cherry zu schreiben, die Aufmerksamkeit des Dozenten Max Roach zu gewinnen und in Gunther Schuller einen langjährigen Mentor und Freund zu finden. Sie wurde eine versierte Texterin und schrieb nicht nur für Coleman und Nancy Harrow, sondern auch für Harry Belafonte und Gary MacFarland. Aber es war die spätere Begegnung mit den Beach Boys, die Guryan die Tür zu „Take a Picture“ und einer Reihe anderer großartiger Songs öffnete, von denen viele auf „Words and Music“ erschienen sind. „Take a Picture“ ist eine ausgefeilte Bestandsaufnahme der Romantik und Unentschlossenheit der Mittzwanziger, vom koketten Treiben in „Sunday Morning“ und der Verliebtheit in „Can You Tell“ bis zur verzweifelten Hilflosigkeit in „What Can I Give You“. Ihre ewig weiche Stimme, ihre kühne Songkunst und ihre völlige Offenheit: Guryan machte 1968 und darüber hinaus gewagte Musik, egal wie sanft sich diese Klänge zu bewegen schienen. „Like Someone I Know: A Celebration of Margo Guryan“ unterstreicht die Stärke von Guryans Liedern, indem es einem Dutzend verschiedener Künstler erlaubt, sie auf ihre eigene Reise mitzunehmen. Im Laufe der letzten Jahrzehnte ist immer deutlicher geworden, wie gut Guryan war, wie stabil ihre Lieder inmitten der wechselnden Geschmacksrichtungen. „Like Someone I Know: A Celebration of Margo Guryan“ ist eine absolute Bestätigung, ein Zeugnis für die anhaltende Relevanz und Brillanz von Guryans Arbeit. Ein Teil des Erlöses dieses Albums wird für die Bereitstellung von und den Einsatz für erschwingliche reproduktive Gesundheitsdienste gespendet.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – Yearbook 1981. NOW – Yearbook 1981; a celebration of the eclectic and creative brilliance of the year in pop. 4 CDs of 85 tracks that defined the charts in 1981. Available on a 4CD special edition which is housed in ‘hard-back book’ packaging, including a 28-page booklet with a summary of the year, a track-by-track guide, a quiz, and original singles artwork, and as a standard 4-CD package. A limited edition 3LP set pressed in translucent red vinyl, limited to 3,000 units and a 4CD set

Harlem Street Singer ist das 1960 erschienene Album von Reverend Gary Davis, das ursprünglich bei Prestige
Records’ Bluesville Imprint veröffentlicht wurde. Das Album enthält eine Kombination aus Titeln aus Davis’
Feder, darunter „Death Don’t Have No Mercy“, und Standards wie „Samson and Delilah“. All Music
erklärte, das Album sei „ein Muss für Fans von Country-Blues und Gospel“. Diese Wiederveröffentlichung
wurde bei QRP auf 180-Gramm-Vinyl gepresst und mit einer Replika-Hülle versehen.

US House Music legend Teddy Douglas of Basement Boys and Jasper St. Co. fame gets set to unleash his first solo artist album, ‘I’m Here’, on the iconic label, Nervous Records. Teddy has gone all out to deliver one of his most creative and musically diverse albums to date. ‘I’m Here’ is a colourful pallet of meaningful songs and grooves that reach far beyond Teddy’s signature soulful Baltimore House sound, with added infusions of Funk, Rock and Jazz, yet still loaded with plenty of Teddy’s trademark House and Disco sounds that we all know and love.

Across the album he’s pulled together an array of heavyweight international vocal talent including; UK vocal diva Pauline Taylor; Danish award winning Folk and Blues artist, Richard Farrell; Chi Town Hip House legend, Fast Eddie; dance music’s legendary No.1 vocal queen, Ultra Naté; up and coming Brit Soul talent, Sipho; and Buckshot from Blackmoon appearing as BDI Thug. From the shimmering cover of The Frontline Orchestra’s ‘Don’t Turn Your Back On Me’ with Pauline Taylor on the vocals, to the downtempo rocky vibes of ‘Help!’ with Sipho delivering a spine-tingling gravelly vocal, ‘I’m Here’ is testament to Teddy’s finely tuned expert musicianship and impeccable knack for penning great songs and delivering vibrant covers.

Baltimore’s Teddy Douglas has produced everyone from Michael Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate’ and was an important figure in the development of the Baltimore “House” Sound. Teddy has held down a long and successful DJ career since 1983 staring out in Baltimore and spreading his wings globally gracing the decks at clubs such as Yellow in Japan to London’s Ministry of Sound and beyond. In 1985 he met Jay Steinhour and Thommy Davis, who later formed The Basement Boys production company. The Basement Boys have produced countless dance classics like Crystal Waters’ 1991 Gold single, ‘Gypsy Woman’. In the mid 90’s Teddy Douglas and Jay Steinhour opened Basement Boys Records and released club anthems from Teddy Douglas, Jasper St. Co., Ann Nesby, Those Guys, DJ Spen, Byron Stingly, Karizma, Kenny Bobien, Taja Seville and more

Mwandishi is one of Herbie Hancock's first departures from his traditional jazz sounds. The album which was recorded in a single session on New Year's Eve is a much more spacier effort compared to his earlier works, created by Hancock's us of electronic effects devices. His sextet is the most progressive ensemble he played with and he took the next step in the future of jazz. The music on Mwandishi is beautifully atmospheric and the long tracks leave plenty of space for improvisations by the group. A fantastic recording with sonic layers of earth, existence and expression.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Limited to 500 copies! No repress! Transparent red vinyl! Hype sticker on front! 1961 schwappten die ersten Tropfen der neuen Surf-Welle in den Äther. Eine Gruppe kalifornischer Teenager namens The Belairs veröffentlichten mit "Mr. Moto" das ersten lupenreine Surf-Instrumental und viele weitere sollten folgen. Es war ein Lebensgefühl, es ging um Freiheit, Rebellion gegen die miefigen 50er, um Party und natürlich um die nächste Welle. All das spielte sich vorzugsweise im sonnigen Kalifornien ab. Der erste Hit des Genres war "Misirlou" von Dick Dale, das 1962 veröffentlicht wurde. Der Track stellt deutlich die drei Hauptkomponenten des Surf heraus: ein tragendes Gitarren-Thema (eben kein Gesang!), exotische Harmonien und Akkordfolgen sowie ein gehöriges Maß an Wildheit und Lautstärke! Leo Fender entwickelte dann für Dick Dale zwei Innovationen, ohne die die Surf-Musik nicht das geworden wäre, was sie ist: Den Fender Reverb - ein separates Federhall-Gerät - und den Fender-Showman-Verstärker. Dieses Equipment gehört gerade für Puristen auch heute noch zur Grundausstattung eines Surf-Gitarristen, der seinen Job ernst nimmt. Natürlich gab es jede Menge Bands, die nur eine oder zwei 7"-Singles veröffentlichten, die lokal verteilt oder bei Gigs verkauft wurden. Man braucht schon einen Mann mit Spürnase, um die Juwelen rauszupicken und die entsprechenden Preise für das Kleinvinyl zu zahlen. Unser Mann heißt DJ Crille, seinerseits Resident im Komet! Club in Hamburg (nahe Reeperbahn), und anerkannter Surf-Spezialist. Nebenher ist er auch für die Vocal Group Madness! LP und die Born To Hula Doppel-LP in der DJ Set Serie -beide auf Stag-O-Leeverantwortlich. Surfin Burt"s Surfin Safari! - Vol. 2 ist praktisch die perfekte Welle.