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Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

This is tenor saxophonist Hank Mobley’s first release on the Prestige label, after one previous Blue Note release. Here he is joined by Donald Byrd (trumpet), Barry Harris (piano), Doug Watkins (bass) and

Art Taylor (drum) with a guest appearance from Jackie McLean (alto saxophone) on one track. As one might expected, the program is quite « be boppy »,

with the band running through bop standards like Bud Powell « Bouncing with Bud », Monk’s « 52nd Street » and Parker’s « Au Privave ». Mobley’s supremely confident solos are

highlights of these tracks and he swings through the rather plain arrangements of « Bouncing with Bud » and « Au Privave » , with exceptional phrasing and melodic finesse, through Byrd’s and Harris’s solos as satisfying as well.

One could be forgiven for getting that familiar feeling when listening to the music of Ghost Woman. And that's not just because songwriter & multi-instrumentalist Evan Uschenko is deeply steeped in classic guitar-led rock & pop songwriting (more on that later), it's that the music was, by design, intended to be evocative. But not evocative, however, of any one thing; what separates the music of Ghost Woman from a great many other bands working today is his openness to non-specificity. He's not trying to impart any sort of message to the listener; instead, the hope is that one will find themselves luxuriating in nuances of how the music is delivered, and the feelings it stirs up for each individual.

For the past couple of years Ghost Woman has been Evan Uschenko's outlet for his interest in songwriting and recording, which began after a number of years spent playing as a sideman in various Canadian indie ensembles, most notably in the Michael Rault band, a group that displays a similar affinity for perfectly dialed, partially yesteryear-looking guitar pop. Following 2022's self-titled


debut, issued by UK-based Full Time Hobby to great critical acclaim, Anne, If presents a slightly more expansive vision of what Ghost Woman can offer.

Strikt limitiertes Live Vinyl Album der englischen Wave-/Ghotic-Band THE CURE, aufgenommen im Jahr 1990 inklusive den Hits Boys Dont Cry und A
Strange Day. 500 Exemplare, gepresst in roter Vinyfarbe und im super-schönen 12inch Format.

Feinster Oi!/Streetpunk aus vier Ländern (US, CAN, IR, GER) trifft sich hier auf einem Album. Jeweils drei neue, unveröffentlichte Tracks liefern die vier Combos hier ab. Die beiden LP-Seiten teilen sich RED BRICKS aus Hamburg, THE UNCOUTH aus Kansas City, AN SLUA aus Gaillimh sowie RECKLESS UPSTARTS aus Ontario mit je drei Songs. Die Bands eint die Verknüpfung aus anti-rassisitscher, antifaschsitischer Attitüde und dem rauen Sound der Straße mit Working-Class-Mentallity und einer derben Prise Oi! Veröffentlicht in Kooperation mit Insurgence Records (Kanada). Klassisch schwarzes Vinyl!

96kHz - 48-bit HD Audio with digital booklet including original photography by Christopher Kayfield and liner notes by Shaun Brady.

Pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart reunite for a second, scintillating trio date, BRIDGES, featuring original compositions by Hays and Hart with classics by Wayne Shorter, Bill Frisell, The Beatles, and Milton Nascimento.

Hays Street Hart, the trio of pianist Kevin Hays, bassist Ben Street, and legendary drummer Billy Hart, recorded their acclaimed 2021 debut, ALL THINGS ARE, under less than optimal conditions. The album began life as a performance in honor of Hart’s 80th birthday in December 2020, live-streamed from an empty Smoke Jazz Club in the final weeks of that grueling pandemic year. Despite those adversities, the music they created that night was spectacular enough to convince all involved that it should be released.

Two years later, the trio has reconvened, this time fully cognizant that they were going to record an album at Sear Sound Studios in NYC. The captivating BRIDGES brilliantly spotlights the unique chemistry and shared spirit of exploration that emerged fully formed on that initial impromptu session. The title succinctly hints at some of the reasons why Hays, Street and Hart work so well together: this is a trio that bridges generations, certainly, as well as a wealth of diverse experience and inspiration. But it also sums up a mutual desire to bring people together through music.

“In this world that seems to be crumbling beneath our feet,” Hays explains, “we sense the need to make allies where there might be adversaries. On the most intimate level, interpersonally and inter-psychically we set out to overcome any number of misunderstandings and adversarial situations.”

Not that there was any antagonism to overcome within the trio itself. More than anything, Hays Street Hart is a mutual admiration society of the highest order. The esteem in which the pianist and bassist hold Billy Hart likely goes without saying. The drummer was ordained in 2022 as an NEA Jazz Master, just one of the many honors he has chalked up over a breathtaking career. He began his career with an apprenticeship under the revered vocalist Shirley Horn and went on to make notable music with such luminaries as Miles Davis, McCoy Tyner, Herbie Hancock, Wes Montgomery, Jimmy Smith, Stan Getz, and as part of the quartet Quest featuring David Liebman and Richie Beirach.

But Hart is if anything, even more laudatory toward his younger bandmates. Street has been a member of the drummer’s stellar quartet for two decades, alongside pianist Ethan Iverson and saxophonist Mark Turner, a tenure that speaks for itself. As for Hays, Hart is quick to place the pianist in the exalted company of some of his iconic former collaborators.

“I’ve been lucky enough to have the chance to perform with Herbie Hancock and McCoy Tyner,” says Hart modestly. “Each generation presents their own equivalent, and Kevin is an example of the latest innovations. There was Herbie and McCoy, then it was Chick Corea and Keith Jarrett, and then you have what's coming next. I think Kevin is definitely part of that continuum.”

Though Hays sticks strictly to the piano on BRIDGES, he is also an accomplished singer whose vocal instincts fuel his inventive and lyrical melodicism. Street points to those facets as key to the connection between the pianist and Hart, who has enjoyed several meaningful collaborations with vocalists.

“It always seems to me that Kevin has the capacity to sing in his mind and then accompany himself on the piano,” Street describes. “That makes for such a nice connection with Billy, who has played with and learned from so many singers. I don't even feel like we're playing as a piano trio most of the time; it feels more like a quartet.”

Those qualities are especially clear on Hays’ “Butterfly,” which opens the album. Though it’s performed here as an instrumental, the pianist has composed lyrics for the piece, and its gorgeous, song-like quality shines through. Hays also contributed the breathtaking ballad “Song for Peace,” highlighted by Hart’s gentle, embracing brushwork and Street’s sturdy, stentorian tone. The pianist’s third original, “Row Row Row,” is constructed on a twelve-tone row, but as the playful title suggests, it has none of the more stringent qualities of the serialist composers.

Hart’s stunning “Irah,” originally recorded on his quartet’s self-titled 2006 debut, is dedicated to the composer’s mother and was recorded at Street’s suggestion. The bassist also brought guitarist Bill Frisell’s reflective “Throughout” to the date, imagining Frisell’s Americana influences would resonate with the similarly inclined Hays, who approaches the tune with a harp-like beauty. Hays’ love of pop and rock music is also reflected by the inclusion of The Beatles classic “With a Little Help from My Friends.”

The trio pays tribute to the late, great Wayne Shorter with “Capricorn,” originally released on the composer’s 1969 Blue Note album SUPER NOVA and later included on the Miles Davis Quintet set WATER BABIES. Hart called Shorter one of a kind. I think of the many times I heard him excel – with the Maynard Ferguson Big Band, with Art Blakey's Jazz Messengers, with Weather Report. And in each case, he was innovative.”

BRIDGES closes with the title track, a dazzling piece by the great Brazilian singer and songwriter Milton Nascimento, which Hays calls “one of my favorite compositions ever, by anybody.”

BRIDGES was recorded under ideal studio conditions by a now-established trio with a weeks-long European tour under their belts. Perhaps what’s most remarkable about the album is not that Hays, Street, and Hart play so masterfully together – with three artists of their caliber, who could expect any less? – but that this second outing maintains the bold spirit of inquisitiveness and spontaneity that its predecessor naturally possessed. Credit that to a trio perpetually determined to discover new bridges worth building.

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings, mastered by Will Yip and released through Run For Cover Records, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Diese Split-LP wird auf dem Vinyl-Drehtisch einen bleibenden Eindruck hinterlassen: "LEAVE A TRACE" bietet zwei der aktuell besten europäischen Streetpunk, Oi! & Hardcore-Acts mit jeweils fünf neuen und exklusiven Songs. "This Means War" melden sich 5 Jahre nach ihrer letzten Scheibe "Heartstrings" (Pirate Press) zurück! Mit veränderter Besetzung (neu dazugestossen Tom (Ex Dead-Bleed) sowie Steve von Chron-Gen, neuem Label, neuen Songs, Ihren Style nennt die Band nach wie vor "Bleeding Punk" und mit Killersongs wie "We owe the night" oder "Raging Souls" kann man nur sagen: Was für eine gelungene Überraschung! Die Italienischen "No Restraints" dagegen machen wie üblich keine Gefangenen und bieten den optimalen Härtegrad mit ihrem Mix aus brachialen Sing-a-long Shoutern, Oi!-Core und einer perfekten Dosierung melody & "Direct Hit-Punches"....schon der Opener "Rough & tough" bedarf keiner weiteren Kommentierung. Ihren Stil-Mix und Songwriting haben sie dabei ein weiteres Mal mit feinen Nuancen perfektioniert, ihre lyrics hinterlassen deutliche Spuren im brüchigen Mauerwerk dieser verlogenen Gesellschaft. Oder um den Refrain von "Forever in disguise" zu zitieren": No chance to close your eyes....

Diese Split-LP wird auf dem Vinyl-Drehtisch einen bleibenden Eindruck hinterlassen: "LEAVE A TRACE" bietet zwei der aktuell besten europäischen Streetpunk, Oi! & Hardcore-Acts mit jeweils fünf neuen und exklusiven Songs. "This Means War" melden sich 5 Jahre nach ihrer letzten Scheibe "Heartstrings" (Pirate Press) zurück! Mit veränderter Besetzung (neu dazugestossen Tom (Ex Dead-Bleed) sowie Steve von Chron-Gen, neuem Label, neuen Songs, Ihren Style nennt die Band nach wie vor "Bleeding Punk" und mit Killersongs wie "We owe the night" oder "Raging Souls" kann man nur sagen: Was für eine gelungene Überraschung! Die Italienischen "No Restraints" dagegen machen wie üblich keine Gefangenen und bieten den optimalen Härtegrad mit ihrem Mix aus brachialen Sing-a-long Shoutern, Oi!-Core und einer perfekten Dosierung melody & "Direct Hit-Punches"....schon der Opener "Rough & tough" bedarf keiner weiteren Kommentierung. Ihren Stil-Mix und Songwriting haben sie dabei ein weiteres Mal mit feinen Nuancen perfektioniert, ihre lyrics hinterlassen deutliche Spuren im brüchigen Mauerwerk dieser verlogenen Gesellschaft. Oder um den Refrain von "Forever in disguise" zu zitieren": No chance to close your eyes.... Orangenes Vinyl!

REISSUE

28 Jahre sind OXO 86 jetzt auch schon dabei, 2022 sogar das erste Mal in den Charts, und präsentieren immer noch ihren Skapunk allerbestgelaunt. Das lange vergriffene "Akustikalbum" gibt's jetzt endlich wieder auf limitiertem Vinyl. Ursprünglich 2016 zum 20-jähigen Bandjubiläum erschienen, erfüllte sich die Bernauer Ausnahmeband einen langgehegten Wunsch und nahm 13 ihrer beliebtesten Hits akustisch neu auf. OXO86 schafft es dabei mühelos, dass die Lieder im punkigen Folk-Offbeat-Gewand einen ganz besonderen Esprit und Charme versprühen. Der Rest ist Geschichte mit stets ausverkauften Club-Tourneen und Headliner-Positionen auf allen großen Festivals. So auch 2024 beim Ruhrpott Rodeo, Spirit from the Streets, Back to Future uvw. Farbiges Frühlings-Vinyl mit Mamor-Effekt, jede Platte anders.

Rancid-Sänger Tim Armstrong ist auch als Chef seines Labels Hellcat immer wieder für Überraschungen gut. Bestes Beispiel: The Interrupters. Angeführt von der sehr umtriebigen Singer-Songwriterin Aimee Allen begann die Ska-Band aus Los Angeles ihre Arbeit mit Armstrong mit einer Single für dessen populäre Tim-Timebomb-Serie. Davor veröffentlichte Allen ein recht erfolgreiches Soloalbum und war als Backgroundsängerin auf dem von Armstrong produzierten und mit einem Grammy ausgezeichneten Jimmy-Cliff-Album "Rebirth" zu hören. Auf "The Interrupters" verbinden sie und ihre Kollegen Ska, Reggae und Punk, nicht ohne jedoch auf Humor zu verzichten, wie etwa in Songs wie "White Noise" und "Liberty". Für Fans von Rancid, The Distillers, Streetlight Manifesto, Sublime, Operation Ivy, Two Tone.

Hooligan (aus Dublin) mit Szene-Veteranen von Angelic Upstairs, Cockney Rejects und UK Subs starteten 2009 und veröffentlichten ihre Songs weltweit nur auf limitierten (ausverkauften) 7inch EP's. Jetzt gibt es zum ersten Mal auf 12"-Vinyl die Retrospektive für Sammler mit allen Hits, limitiert! Ihr Sound ist eine geniale Mischung aus Streetpunk, 77er Punk, Dub/Reggae und beeinflusst von ihren Hauptbands und Klassikern wie The Clash ("Calling Joe Strummer" ist einer der besten Tribute-Songs), Addicts, Pistols bis hin zu Cockney Rejects oder Undertones und vielen mehr. Kein Wunder, denn die Jungs haben ihre Jugend in dieser großartigen Zeit der späten 70er zusammen mit den Bands verbracht und das Cover-Artwork enthält ein Bild von Sänger Dave aus diesem Jahrzehnt. "First offence" enthält 12 Songs, die man sich nicht entgehen lassen sollte, wenn man auf diesen Streetpunksound steht! Vinyl Irish Grün mit Orange, limitiert!

tapetopia 015 The name L’Ambassadeur des Ombres goes back to the
French science fiction comic “Valérian et Laureline”. The Ambassadors of the Shadows combined pop appeal and experimentation as the soundtrack to the zero hour of their generation in the GDR’s waning days. The music was made in a children’s room, but the edifice of ideas was a demolition site. L’Ambassadeur des Ombres existed as a hybrid of the wave bands Die Vision and Neuntage. The open ensemble’s family tree can however be traced back to buried DIY projects such as the Mahlsdorfer Wohnstuben Orchester, Zerstörte Umwelt and dark-wave protagonists Fellini Prostitutes or Nontoxic. In the short time of their existence in 1988/89, L’Ambassadeur des Ombres did not give a single concert. The tape “Strike Me If I Shriek” was circulated among friends and musicians only as an on-request work report – it’s a long overdue discovery. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walled-in” scene in East Berlin. More than three decades after their initial “release”, most of these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR subculture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

Beside Trawbreaga Bay, in Co Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from the ancient inlet - The thickness of Oisin's voice soothes the room as the sound waves bounce around in the land where his ancestors still live and still wander - With a musical history that led Leech from the street punk bands of yesteryear through an ongoing stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion, Leech wrote "October Sun" which would become the foundation for his debut solo record, Cold Sea.

Cold Sea was produced by guitarist/songwriter Steve Gunn. Leech dreamt of making the record in Donegal Ireland, a county significant to him because it is the home of his ancestors. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.

Cold Sea is perhaps most notable for its tremendous warmth. Each song was recorded in a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on October Sun and there are strings by Roisin McGrory and bouzouki by the legendary Donal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and wool blanket vocals of Leech.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band's sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits' playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity's definitive-sounding set also brings into transparent view Knopfler's finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here's a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler's decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era's prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler's clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group's oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It's evident in the humorous satire of "Heavy Fuel," closeted desperation of the witty "Calling Elvis," and shake-and-bake bounce of "The Bug." It pours from the album's darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of "When It Comes to You."

Hinting at the open-minded approaches and boundless curiosity he'd embrace as a solo artist, Knopfler doesn't limit himself when it comes to style or subject matter. Look no further than "You and Your Friend," a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album's deep cuts, "Iron Hand," comes on as one of the band's most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners' strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

"Every victory has a taste that's bittersweet," sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

Debut 7” from Dave Guy. Member of The Roots, El Michels Affair, Menahan Street Band, The Dap Kings, The Budos Band. Produced by Homer Steinweiss & Nick Movshon.

Big Crown Records is proud to present the debut offering from the newest artist to join the label, the man on trumpet, Dave Guy. Dave is a long time friend, collaborator, and contributor to a boatload of songs on the label and far beyond it.

A member of The Roots, The Dap Kings, and The Budos Band, he has lent his talents to the music of everyone from Amy Winehouse & Lizzo to Lee Fields & Charles Bradley. Now Dave steps to the front of the stage with a debut record that could have only come from a seasoned veteran. Teaming up in the studio with fellow long time collaborators Homer Steinweiss & Nick Movshon, who handle the production as well as play on the recordings, the set of songs on this 7" are telling of what's to come.

Side A, "Footwork" is a Latin inspired tune that gets you up from the intro drum fill and is sure to soundtrack many a dancefloor from Soho to Harlem and far beyond the city that inspired it. Dave's trumpet lines are infectious, something about his playing walks the line of jazz and vocal arrangement. The choruses are moving, the verses are gorgeous, the backing band couldn't be sharper as they push the tune down the tracks making this an instant classic. Side B, "Morning Glory" is drenched in swag. The trumpet line repeats to great effect over the walking beat and the arrangement takes you through all the changes while staying entirely in the groove. It is easy to draw comparisons to 70s soundtrack music a la Marvin Gaye's Trouble Man but Dave's music is clearly contemporary pulling the best influences from the past and pushing them forward.

12 tracks originally released on the indie dance label GOMMA RECORDS between 2001 and 2010. (Gomma was the label Toy Tonics did before starting Toy Tonics.)

Along with DFA and Output records Gomma released a wild mix of electronic dance music, indie rock, undergound disco, post punk and new wave funk that was big in the 2000s. The Y2K sound!

Gomma released music by artists like Peaches, Whomadewho, The Rammellzee, James Murphy, LCD soundsystem and artists like Nick McCarthy of Franz Ferdinand.

Now it’s 2023 and its feels fresh to put a spotlight on some of these tracks again.

And so here comes a 2nd compilation part of Gomma tracks:
Nancy Whang the singer of LCD Soundsystem, WhoMadeWho (the band started their career on Gomma), Italian disco producer Bottin, UK Indie Disco hero The Deadstock 33s aka Justin Robertson, NY Disco hipsters In Flagranti, German producers Munk and many more on this compilation.

Gomma not only was a record label, but was also a home for cutting edge design, wild T-shirt styles, underground exhibitions with new artists from the Berlin scene and crazy poster and fanzine design.
Many graphic design trends of the last years were preceded by what the artists on Gomma were doing. And many record and street wear labels of today look a bit like Gomma was looking before ... copying the images that Gomma preceeded: ironic cartoons, trash aesthetics, greek symbols, ugly design ideas and lot of ironic things.
The Gomma visuals world was exposed in a couple of exhibitions around the world and at a big exhibition at #hausderkunst München before the label was closed in 2015. (when Toy Tonics took off...)

"My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday's and played the guitar like Jimmy Reed." - Bob Dylan // Karen Daltons Capitol-Debüt aus dem Jahr 1969 ist endlich wieder erhältlich! Light in the Attic freut sich, eine brandneue Ausgabe dieser herzzerreißenden und bluesigen Einführung in die berauschende Welt von Dalton und ihrem tiefen Brunnen voller musikalischer Geheimnisse zu präsentieren. Weltmüde und vom Blues erfüllt, war Daltons unübertroffene interpretatorische Tiefe und emotionale Bandbreite wie keine andere. "It's So Hard To Tell Who's Going To Love You The Best" wurde 1969 für Capitol aufgenommen und reihte sich ein bei klassischen amerikanischen Songwritern wie Lead Belly, Fred Neil und Tim Hardin. Diese Neuveröffentlichung ist die endgültige, rein analoge Version von Daltons umwerfendem Debüt, mit neu gemastertem Audiomaterial von den Original-Capitol-Mastern, dem Original-Artwork von 1969 in einem erweiterten Klappcover, ungesehenen Fotos des Albumfotografen Joel Brodsky und einem Essay, in dem Karens Freunde und musikalische Mitstreiter zu Wort kommen, vom Albumproduzenten und Bassisten Harvey Brooks bis zum Musiker Peter Stampfel von den Holy Modal Rounders. - Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

Who To Love is a 10-song modern rock opera by a new creative collective, The Time Experience Project comprising of Rock And Roll Hall Of Famer, Dave Stewart and legendary Italian band, Mokadelic. "Who To Love" is an immersive 10-song modern rock opera with
an accompanying film which premiered at the Rome Film Festival in October 2023.

Dave Stewart called to his side the great Italian television, stage, and Þlm actress, Greta Scarano and legendary Italian band Mokadelic for this adventure that inextricably joins music and images, weaved together with a strong emotional impact that investigates the
deepest folds of the human soul through music, memories and nightmares that intertwine in an alienating journey. Turquoise colored vinyl.

ELO Part II were a band formed by Electric Light Orchestra drummer and co-founder Bev Bevan. The band also included former ELO bassist and vocalist Kelly Groucutt and violinist Mik Kaminski for most of its career, along with conductor/keyboardist Louis Clark who toured as a guest with ELO in its later years. Features the hit singles Honest Men, Kiss Me Red and Thousand Eyes as well as a bonus track on Side A, Love For Sale.

ELO Part II were a band formed by Electric Light Orchestra drummer and co-founder Bev Bevan. The band also included former ELO bassist and vocalist Kelly Groucutt and violinist Mik Kaminski for most of its career, along with conductor/keyboardist Louis Clark who toured as a guest with ELO in its later years. Features the hit singles Honest Men, Kiss Me Red and Thousand Eyes as well as a bonus track on Side A, Love For Sale.

Aus Trondheim, an der kalten Küste Norwegens, haben VICINITY seit 2006 ihren Mix aus progressivem Metal, Melodien und ausgefeilten
Rhythmusmustern entwickelt. Mit ihrem dritten Studioalbum hat die fünfköpfige Band nun die perfekte Mischung für ihren Sound gefunden. "VIII" ist
ein ausgereiftes Progressive-Metal-Album mit einem frischen Ansatz in der Komposition.
Indem sie neue Einflüsse in ihren ohnehin schon reichhaltigen Schmelztiegel von Referenzen einfließen lassen, ist "VIII" eine Sammlung von
Progressive-Metal-Songs, bei denen die Norweger zu einem schwereren, prägnanteren Sound als bei den vorherigen Veröffentlichungen abdriften.
Das Endergebnis kann sowohl traditionellen Prog-Fans von Bands wie Threshold als auch Anhängern von neueren Acts wie Haken gefallen.
Gemischt wurde "VIII" von Øyvind Voldmo Larsen (Seventh Wonder, Circus Maximus, Withem) und gemastert wurde in den Fascination Street Studios
von Tony Lindgren (Ihsahn, James LaBrie, Leprous, Opeth).

Since emerging in 1997, Chicago quartet Plain White T's — Tom Higgenson vocals, Tim Lopez [lead guitar, vocals], Mike Retondo [bass], and De'Mar Hamilton [drums] — have remained visible and viable. They have consistently delivered unforgettable pop rock anthems that take up real estate in your brain for months at a time. They have amassed over 2.7 billion total global streams, earned two Grammy nominations, and collected several Platinum-plus and Gold certifications across their impressive catalogue. Their signature single "Hey There Delilah" went quadruple-platinum, topped the Billboard Hot 100, and earned the pair of aforementioned GRAMMY® nominations in 2008 — for "Song of the Year" and "Best Pop Performance by a Duo or Group with Vocal." They have made their pop culture mark by appearing on highly visible shows such as the Macy's Thanksgiving Day Parade, Sesame Street, iCarly, 90210, Beavis & Butthead, and Frankenweenie, all the while nabbing press accolades from TIME, Billboard, ESPN, Rolling Stone, AV Club, MTV, MSNBC, and more. Plain White T's have proven to be a reliable musical force, as well as a career band that shows no signs of stopping or slowing down.

Navy blue vinyl. For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain: No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. "Diamonds" is a brand-new compilation featuring Rik's favorite rock tracks from his Duke Street years. Newly remastered in 2023 at Iguana Studios in Toronto ON with the most up-to-date technology, every track brims with a new crisp presence. Tracks from Absolutely, Ipso Facto and The Spiral Notebook never sounded so good!

Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.

Der amerikanische Musiker Bobby Keys war langjähriger Weggefährte und Saxophonist der Rolling Stones. Mit einer Pause in den 80ern war er seit 1969 bis zu seinem Tod in 2014 festes Mitglied der Live-Band und spielte auf Alben wie „Let It Bleed” (1969), „Sticky Fingers“ (1971) und „Exile on Main Street“ (1972). Neben den Stones spielte er u.a. auch für Eric Clapton, John Lennon und B.B. King. 1972 erschien sein einziges selbst-betiteltes Solo-Album unter der Mitwirkung von Ex-Beatles George Harrison und Ringo Starr. In den frühen 80ern nahm Bobby Keys über mehrere Jahre hinweg zusammen mit Ronnie Wood und Keith Richards unter der Leitung von Produzent Clive Hunt dieses Album auf, das über Jahre in dessen Archiv verschwand, jetzt wiederentdeckt wurde und nun endlich erscheint!

Shay Hazan radiates with musical diversity on "Wusul", His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album "Wusul". This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences.

Part of The Optic Sevens 5.0 Reissue Series.
Limited to 500 copies worldwide. Pressed on Blue Vinyl. Includes poster.
Brand New Remastered Versions.
The June Brides debut single originally released in 1984 on The Pink Label.
Both tracks are from fresh transfers from the master tapes which were then remastered by Jason Mitchell at LOUD Mastering in Taunton in early 2021.
The June Brides are true innovators, hailing from the first wave of British indie, with fans that include Manic Street Preachers (who covered their song “The Instrumental” as a tribute) , Morrissey and Belle and Sebastian’s Stuart Murdoch.
They have always been regarded as pioneers, and one of the most beloved of the bands that formed the original UK independent music scene, which has since been tagged as C86.

Nach 15 Jahren und einem halben Dutzend Alben hat die fünfköpfige Band aus New Jersey, Real Estate, unter dem Titel Daniel eine essenzielle Sammlung von 11 äußerst melodiösen Songs zusammengestellt.

Daniel wurde einfach so benannt, weil es witzig erschien, einer Platte einen menschlichen Namen zu geben, und ist das Zeichen einer Band, die schon lange genug dabei ist, um ihre Musik ernst zu nehmen, ohne dabei auf Spaß zu verzichten. Es gibt eine außergewöhnliche Kampagne rund um Daniel und die Leadsingle Water Underground zu erwarten.

Ltd Edition!

Nach 15 Jahren und einem halben Dutzend Alben hat die fünfköpfige Band aus New Jersey, Real Estate, unter dem Titel Daniel eine essenzielle Sammlung von 11 äußerst melodiösen Songs zusammengestellt.

Daniel wurde einfach so benannt, weil es witzig erschien, einer Platte einen menschlichen Namen zu geben, und ist das Zeichen einer Band, die schon lange genug dabei ist, um ihre Musik ernst zu nehmen, ohne dabei auf Spaß zu verzichten. Es gibt eine außergewöhnliche Kampagne rund um Daniel und die Leadsingle Water Underground zu erwarten.

A very "MGMT MGMT album" which the band describes as "a group of songs about love and change, first and foremost." Descriptors from the band include: bold, flavorful, playful, sincere, optimistic, perceptive. Loss Of Life was produced by MGMT and Patrick Wimberly (Solange, Lil Yachty, MGMT), with mixing and additional production by Dave Fridmann (Flaming Lips, Interpol, Spoon). The album includes the first ever MGMT song with a feature, courtesy Christine and the Queens. The album artwork has been licensed from John Baldessari's estate and is an artwork titled Noses & Ears, Etc. (Part Two). Formed in 2002, MGMT released their era-defining debut album Oracular Spectacular in 2007. One of the most influential albums of the '00’s - it went on to sell over 2 million copies worldwide and was certified Gold or Platinum in over 10 major territories, including double platinum in UK, Platinum in Australia, Gold in France and Platinum in the USA. It gave the world evergreen hits such as “Kids”, “Electric Feel” and “Time to Pretend” which have inspired, and continue to inspire new generations of artists and music fans alike to this day - those three songs combined have been streamed over 2 billion times on audio streaming platforms since released. Always taking an unexpected creative turn at every new record, but always maintaining their cultural and commercial relevance over the subsequent 15 years, MGMT later released three further studio albums: “Congratulations” (2010), “MGMT” (2013) and “Little Dark Age” (2018).

Neue Vinylfarbe 2024, klare LP, im Klappcover mit bedruckter Innenhülle! 16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe empor steigen, auf den Konzerten trifft sich jung und alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellenen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener "Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung "Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder des eigenen Kopfes. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits!

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.