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Get In Where You Fit In, was originally released in October of 1993 andwould be his fourth album in a row to be certified platinum. Productionwas handled by Ant Banks and The Dangerous Crew, which featuredlive instrumentation, incorporated P Funk samples, and G Funk synths.The lead single "I'm a Player" sampled Bootsy Collins' funky bass of"Hollywood Squares" and Quincy Jones' son QDIII produced the epicBay Area G Funk laden classic track "Just Another Day". And itwouldn't be a Too $hort record without some pimp and sex tales like"Blow Job Betty", "All My Bitches Are Gone" and the upbeat "Gotta GetSome Lovin". Bay Area legends Spice 1, Ant Banks, and Mhisani akaGoldy join in on the posse cut "The Dangerous Crew" followed by atrack with more Bay Area legends Rappin' Ron and Ant Diddley Dogdissin' ex Dangerous Crew member MC Pooh on the title track. Get OnDown has repressed this Too $hort 90's fan favorite album on PurpleIn-Clear Colored Vinyl.

David Lowery (Cracker, Camper Van Beethoven) to release his new 28-track solo album. "Fathers, Sons and Brothers" is David"s musical autobiography, celebrating his youth, family, friends and the highs and lows of his lengthy 40-year career in the music business. The album combines three of David"s previously online-only released autobiographical solo albums "In The Shadow of the Bull", "Leaving Key Member Clause", and "Vending Machine", and also includes four new previously unreleased songs, as well as four newly re-recorded tracks: He"s been writing songs about people on the fringe for damn near a lifetime. 40+ years of detailing the idiosyncrasies of outcasts, losers, freaks and outliers in society in his two acclaimed, if not totally different, bands - Cracker and Camper Van Beethoven.

Nothing is lost on Cash Langdon. It’s something you can hear in the observational lyrics of his last record, 2022’s Sinister Feeling; but on its follow-up, Dogs, you can also hear it in the camaraderie he cultivates playing live with his band Meadow Dust, a sonic energy that gives off the heat of his native Birmingham. The trio’s fuzzy take on heavy country rock has a worn-in no-fussiness that recalls Neil Young & Crazy
Horse – nothing overthought, nothing understated. And like Young, Langdon’s voice is simultaneously earnest and world-weary – but there’s a sense of humor, too, and a resignation to keeping on (“Dogs,” “Magic Again”). Recorded at Portside Studios (the former location of the legendary Muscle Shoals Sound) in just two days, engineer Brad Timko (Dan Sartain, St. Paul and The Broken Bones) captured Langdon and Meadow Dust at their fiercest yet. The title track “Dogs” and side B heater “Dead Dogs” both take inspiration from the wild dogs Langdon encountered in his neighborhood at the time of writing the record, where he wondered about the sick twist of fate that renders one dog a pet and another a threat. Across songs, he examines how oppressive cycles overlap, intersecting the personal and the societal at all times. The heavy yet melodic “Lilac Whiskey Noise” is the heartbeat of the record, written following an active shooter event that Langdon witnessed at work in 2016. It’s an indictment – not of the perpetrator – but of the systems of power that enable such an act. It’s a microcosm for all of the themes on the album, too: the ongoing violence of simply being awake to the world around you, and the resolve to stay awake anyway.
On the crunchy album-closer “Nothing’s Good Anymore,” Langdon sings about overhearing someone say just that – and you can tell he’s tempted to agree. He’s going to find what kernel of beauty he can. Dogs is a sonic map for finding that beauty in just about anything.

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, releasing 25th April 2025 on the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024. Side A is a sun-drenched journey through their whimsical Norfolk countryside, narrated with a surreal sense of lyricism which focuses on the undulating flow of the human psyche and the shape of relationships that can decide its fate. 'Burning 305' follows the mould of the band’s earlier creations with white-knuckled rhythms layered with dashing production and gritty guitars. 'The Score' summarises their love of Revolver-era Beatles and infuses it with a hint of 90's dance grooves. Side B is where the trip takes a heavier turn, the un-hinged night-time of the record. It is where the band best shows the force with which their live reputation has been built on. 'Tiergarten' - a motorik course through consciousness and 'Howling Dog Song' - all raucous, scuzzy-garage riffing. The album concludes with the 7-minute epic 'Sun For Hire'. Born out of a 30-minute live improvisation, it is the earliest written of all songs on GDM and a strong fan favorite for the audiences of the last 2 years. "A lot of themes are anti-establishment commentaries on the state of the modern world. It can feel isolating being bystanders of global concern in sleepy Norfolk, even though it’s easy to slip into a false comfort when you’re surrounded by vast space, natural beauty and friendly folks down the market. Gone Down Meadowland is that egoless escapist fantasy that still can't escape the world caving in on itself; Norfolk isolationism." Produced by the band themselves, mixed by Hugh Fothergill of Volleyball, and mastered by Joseph Carra at Crystal Mastering of KGLW fame, Gone Down Meadowland is Floral Image’s first full flourish. They take the record on the road across Europe and the UK throughout April & May 2025.

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

Dogma, die treuen Wahrheitssucher, veröffentlichen ihr selbstbetiteltes Debütalbum jetzt auf CD und LP. Das Album erzählt eine kraftvolle
musikalische Geschichte, die tief in die menschliche Psyche eindringt. Frontfrau Lilith sagt: „Auf unserem Debütalbum enthüllen wir eine rohe und
unverblümte Erzählung, die den Kampf gegen aufgezwungenen Glauben, ungerechte Zensur und die Befreiung von unlogischen Überzeugungen
beleuchtet. Es ist eine Reise durch verlorene Unschuld und eine Rebellion gegen archaische Zwänge. Ein kühnes Statement, das die Auflehnung gegen
gesellschaftliche Normen einfängt. Es geht darum, sich zu befreien, unsere Wahrheit anzunehmen und die uns auferlegten Beschränkungen
herauszufordern.“
Lilith führte weiter aus: „Visuell ist das Album-Artwork eine gewagte Reflexion der Allgegenwart der Lust in der Menschheit, unabhängig von allen
Bedingungen. Es dient als kühnes visuelles Testament, das die Wahrheit entlarvt, dass Lust ein inhärenter Teil unserer Natur ist, frei von jeglichen
auferlegten Beschränkungen wie falscher Moral und unlogischem Glauben.“ Dogma fordert uns auf, die Rebellion anzunehmen und unsere fleischlich
Gelüste zu entfesseln. Sie werfen die Ketten der Bescheidenheit beiseite und beschwören einen Sturm der Sinnlichkeit herauf, der unerschütterliche
Aufmerksamkeit und leidenschaftliches Mitmachen verlangt

Geniusz, Minor Talent, Generational Talent. Let the old folks fight it out. Sharp Pins are too busy staying up late watching vampire movies. Fathers and Children of the Revolution. Finally cartographed and designed by the actual Youth in Revolt "Nothing Stands in their way, they ARE the face of today". How can you tell you've been in the presence of the Sharp Pins? You see their sticker on yr phone, yr car, yr guitar, yr drums, yr bass, yr clarinet, yr flugelhorn, yr tuba, yr dog - its a MOD MOD WORLD, we're just living in it. 14 tracks 33RPM. Sharp Pins is the super solid lo-fi noise pop project of talented Chicago musician Kai Slater of Lifeguard and Dwaal Troupe."Radio DDR" originally released at home as a Hallogallo tape. "Youth Revolution Now".

"There is great power in secrecy. Detached from the world, brewed under a strict code of confidentiality, a new lifeform came into existence. Led by none other than Sonata Arctica frontman Tony Kakko, this new beast of his gained momentum in the massive shadow of his wildly successful power metal superheroes, slowly, steadily, biding its time, waiting for the right moment. This moment is now: With his self-titled debut, Tony Kakko opens the curtains into this strange new world of his just enough to take a first peek – and instantly hunger for more. A master story teller and a wizard of conjuring musical emotions, Himmelkraft stages Kakkos trademark talents in a wholly new, unexpected and thrilling way. To him, the sky truly is the limit, bestowing upon us an album that sounds like nothing else out there – brooding and dark, menacing and eerie, stomping and monumental.




This project sees Tony Kakko enter a fascinating new era. Much like the legendary Elven smiths of old, forging away in solemn silence, Kakko has stopped the wheel of time to reinvent himself and his bold musical vision. Shrouded in mystery, a new being appears in the fog, barely discernible and yet distinct the very moment Tony Kakko starts to sing.

Yet, everything else remains just what it was from the very start – a mystery. Call them songs for a dying world or songs for a world reborn – either way, you will be intrigued how this extraordinary project will develop. And that’s a promise
"

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

High Roller Records, reissue 2025, bonus track "Road Crew", transparent electric blue/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2025, bonus track "Road Crew", transparent electric blue/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

Limitiert auf 500 Stk. – 100 Stk.


OSS! Spy vs. Spy! MI6! All operating in the shadows of darkness and danger... listen...underneath that double-trouble of uncertainty lays the groove. The exotic and the erotic sounds. 007! The music with a license to kill and thrill. When the clock strikes five and it is cocktail time, no man is a match for the soundtrack of the Femme fatale of the underworld. Shake that thing baby-don"t stir it....and the Martini too. The spy universe has been quite an inspiration for composers and orchestras. Lounge music, Exotica and symphonic, this record will have you spinning the globe hitting every longitude and latitude from Bangkok to Rio. So drop that needle and get on board this second volume as this jet is leaving the gate right on time.

Limitiert auf 500 Stk. – 100 Stk.


OSS! Spy vs. Spy! MI6! All operating in the shadows of darkness and danger... listen...underneath that double-trouble of uncertainty lays the groove. The exotic and the erotic sounds. 007! The music with a license to kill and thrill. When the clock strikes five and it is cocktail time, no man is a match for the soundtrack of the Femme fatale of the underworld. Shake that thing baby-don"t stir it....and the Martini too. The spy universe has been quite an inspiration for composers and orchestras. Lounge music, Exotica and symphonic, this record will have you spinning the globe hitting every longitude and latitude from Bangkok to Rio. So drop that needle and get on board this second volume as this jet is leaving the gate right on time.

Power trio with Marriott playing all guitar / Setlist includes Small Faces and Humble Pie classics, covers, and more! Includes 6 tracks omitted from original 1984 LP / Restored original artwork / New liner notes by Ralph Chapman (The Guess Who, The Tubes, Mountain) / Digitally remastered by Andy Pearce (Humble Pie) / Steve Marriott was the frontman of legendary rock bands Small Faces and Humble Pie / Marriott was inducted into the Rock and Roll Hall of Fame in 2012 as a member of the Small Faces. "First of all, I'd like to thank you for coming here this evening. Secondly, I'd like to thank Radio Capital for allowing me to come here and be with you this evening. Thirdly, I'd like to thank my father for not noticing the hole in his packet of three." - Steve Marriott, July 6, 1984 - STEVE MARRIOTT - VOCALS & GUITAR, JIM LEVERTON - BASS & VOCALS, FALLON WILLIAMS - DRUMS - Originally released in 1984 in abridged form on the independent Aura Records label, Packet of Three kicked off the third chapter of Rock and Roll Hall of Fame inductee Steve Marriott's legendary career, after two decades fronting the Small Faces and Humble Pie. This live album captures a smokin' set at Dingwalls in London, with Marriott in spectacular voice and the power trio format spotlighting his underrated guitar playing across a set of Small Faces and Humble Pie classics, blues standards, and covers. Packet of Three is the only official live album from this era, produced and promoted by Marriott. This 2 LP reissue adds 6 bonus tracks that did not feature on the original 1984 single LP, presenting the complete concert on vinyl for the first time. Includes revealing liner notes by Ralph Chapman drawing upon newly conducted interviews with surviving Packet of Three bandmate Jim Leverton and Aura Records head Aaron Sixx.

Nach Funk, Soul und Reggae entdecken Sie in der neuen Ausgabe der Greatest Hits-Sammlung alle Blues-Hits. Muddy Waters, Robert Johnson, BB King, John Lee Hooker... Die größten und legendärsten Bluesmusiker auf einer schönen Vinyl 2LP

A hard rock mash up - Bandleader Paul Ngozi's split album with his drummer and co-vocalist Chrissy Zebby Tembo. The set includes an oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations.

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” - New York Times

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock - in the mid-to late-70s. From that era, Zamrockís energy is matched only by the punk and hip hop scenes of England and America.

"Disco Crash" wird zum allerersten Mal auf Vinyl veröffentlicht und um die Klangdynamik zu maximieren, wird es auf einer Doppel-LP sein! Dieses Album aus dem Jahr 2012 enthält Beiträge von Snoop Dogg, Pitbull, Sophie Ellis-Bextor und Sean Paul. (Wieder-)Entdecken Sie die weltweiten Hits "Far l"Amore", "Rock The Boat" und "Tik Tok" ...

THE CHEFS tauchten zum ersten Mal auf der ,Vaultage 79" Compilation aus Brighton auf. Zwischen 1980 und 1981 veröffentlichten sie drei Singles: zwei auf dem legendären Brightoner Label Attrix, eine auf Graduate Records. John Peel und andere Radio DJs spielten ihre Songs zu Tode, was schließlich in BBC Radiosessions mündete. Nachdem THE CHEFS zu SKAT geworden waren, brach die Band auseinander. Helen McCookerybook sollte als HELEN AND THE HORNS Erfolge für sich verbuchen und ist heute noch solo aktiv. Diese Doppel-LP mit 26 Tracks von THE CHEFS enthält sämtliche ihrer Aufnahmen auf Attrix und Graduate Records, dazu bisher unveröffentlichte Songs des verschollenen Debütalbums, und Songs aus den Radio Sessions für John Peel und Richard Skinner. Dies sind die Wurzeln von C-86, von Indiepop und vielem mehr. Nebenbei ist ,Records&Tea" auch noch ein wirklich gutes Album.

Founded by Radio 1’s Danny Howard, ‘Nothing Else Matters’ celebrates 100 releases with a series of limited coloured vinyl; compiling their biggest and most sought after releases. ‘If You Were’ saw huge DJ support from Camelphat, Marco Carola, MK, Claptone, Riva Starr & Alan Fitzpatrick, while ‘Touch Me’; reworked by PAX alongside original artist Rui Da Silva received support from Fischer, Pete Tong, Arielle Free & Gorgon City. Moods very own Nicole Moudaber released ‘Rise Up’ with the vocal talents of London’s Community Gospel Choir and was a huge moment for the label receiving support from Catz N Dogz, Jamie Jones & Fatboy Slim. Finally ‘Down To Earth’ by Armand Van Helden and Mark Knight was another huge release on the label, pairing two Dance heavyweights together with a release that continues to garner support across club and radio.

Napalm Death's "Smear Campaign," released in 2006, stands as a powerful statement against religious dogma and societal oppression. This album delivers free-thinking, free-form grindcore from the grind majors that dismantles religious burden myth-by-myth.

With its relentless energy and incisive lyrics, "Smear Campaign" continues the band's tradition of merging ferocious soundscapes with thought-provoking themes.

Napalm Death's "Smear Campaign," released in 2006, stands as a powerful statement against religious dogma and societal oppression. This album delivers free-thinking, free-form grindcore from the grind majors that dismantles religious burden myth-by-myth.

With its relentless energy and incisive lyrics, "Smear Campaign" continues the band's tradition of merging ferocious soundscapes with thought-provoking themes.

Napalm Death's "Smear Campaign," released in 2006, stands as a powerful statement against religious dogma and societal oppression. This album delivers free-thinking, free-form grindcore from the grind majors that dismantles religious burden myth-by-myth.

With its relentless energy and incisive lyrics, "Smear Campaign" continues the band's tradition of merging ferocious soundscapes with thought-provoking themes.

Napalm Death's "Smear Campaign," released in 2006, stands as a powerful statement against religious dogma and societal oppression. This album delivers free-thinking, free-form grindcore from the grind majors that dismantles religious burden myth-by-myth.

With its relentless energy and incisive lyrics, "Smear Campaign" continues the band's tradition of merging ferocious soundscapes with thought-provoking themes.

Recital presents an artists’ record from the two giants Richard Hamilton and Dieter Roth. Hamilton (1922-2011) is revered as the father of British Pop Art as both theorist and practitioner, in addition to famously designing the artwork for The Beatles’ White Album. Dieter Roth (1930-1998) was a Swiss German artist who blithely ignored all artistic boundaries and aesthetic dictums. His oeuvre includes hundreds of artist books, almost half a thousand prints, sculptures, multiples and records, all balanced between magnetic playfulness and self-deprecating paranoia. Roth also ran his own record/book press Dieter Roth's Verlag and was a major force in the reckless improvisational music group Selten Gehörte Musik (1973-1979).

The two artists most significant collaborations happened between 1976 and 1978, beginning with a series of 74 paintings in which they reworked each other’s art. The paintings were made for an exhibition for dogs (as suggested by the late Marcel Broodthaers, to whom the works were dedicated) in Cadaqués, Spain. Hamilton and Roth then produced the catalogue Collaborations of Ch. Rotham with reproductions of all the paintings alongside four brilliant new collaborative texts. The narrative of the texts sprung from the “fairy story” (Hamilton) quality that emerged from these dog paintings – a hallucinatory tapestry of sausages, gestating giants, Sancho Panza, Don Quixote, and a donkey. Together they gallop, humorous and beautifully absurd, across the wild field of an imaginary seaside backdrop with endless garbled iterations of ever-mutating names riddled with mad typos.

For these recordings the individual texts were read by Roth and Hamilton, actor friend Duncan Smith, and a huge cast of British artists for the final play Die Grosse Bockwurst, performed at the Whitechapel Gallery in London in 1977. The recordings were first released on cassette on the Audio Arts label in 1978, and have now been remastered from the original ¼″ tapes for this double vinyl edition.

Also included are two booklets: one is a new essay written for this edition by artist and co-producer Malcolm Green (Red Sphinx, Atlas Press), alongside full reproductions of the Roth / Hamilton collaborative Ch. Rotham texts. Thanks to Björn Roth, Rita Donagh, Hansjörg Mayer, William Furlong, Tate Modern, and Hauser & Wirth.

Limited edition double-vinyl record of 300 copies in full color gatefold sleeve with over 70 minutes of audio recordings. Including two booklets: a 16-page new essay on Roth & Hamilton by Malcolm Green that includes new Roth translations, and a 20-page complete reproduction of the collaborative Ch. Rotham texts.

Experimental hardcore outfit Rats Will Feast draws their musical landscape from extreme aggression and hallucinatory chaos. Hailing from Jyväskylä, Finland, the band has been touring actively in its current form since 2018. Varying between crushing hardcore, noisy psychedelia and more mellow postrock sounds on their 2019 album Scarcity, 2020 EP Songs of a Racehorseand 2021's Malady, the band's new album Hellhole continues the development of the bands destructive chaotic hardcore sound. Hellhole is the culmination of the band's previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffs with gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world.

Experimental hardcore outfit Rats Will Feast draws their musical landscape from extreme aggression and hallucinatory chaos. Hailing from Jyväskylä, Finland, the band has been touring actively in its current form since 2018. Varying between crushing hardcore, noisy psychedelia and more mellow postrock sounds on their 2019 album Scarcity, 2020 EP Songs of a Racehorseand 2021's Malady, the band's new album Hellhole continues the development of the bands destructive chaotic hardcore sound. Hellhole is the culmination of the band's all the previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffswith gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world. Hellhole is the culmination of the band's all the previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffswith gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world.

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"

Seit mehr als zwei Jahrzehnten verfolgen Dr. Dog ihre Hingabe an die Alchemie des Musikmachens. Als es an der Zeit war, ihr elftes Studioalbum aufzunehmen, wählte die aus Philadelphia stammende Band einen vielschichtigen Prozess aus, der eine tiefere Synergie zwischen den fünf Mitgliedern (Bassist Toby Leaman, Lead-Gitarrist Scott McMicken, Rhythmusgitarrist Frank McElroy, Keyboarder Zach Miller und Schlagzeuger Eric Slick) erforderte. Diese Reise begann mit einer gemeinsamen Session in einer Hütte in den Wäldern von Pennsylvania, von wo aus Dr. Dog sich nach und nach ihren Weg zu dem fröhlich-unbefangenen Psych-Rock ihrer neuen, selbstbetitelten LP bahnten. McMicken übernahm bei "Dr. Dog" zum ersten Mal in der Geschichte der ausgesprochen egalitären Band das Ruder als Produzent, abgemischt wurde das Album vom mehrfachen Grammy-Gewinner Matt Ross-Spang (Jason Isbell, Drive-By Truckers). Getreu dem eklektischen Geist, der die Band schon immer beseelt hat, wechseln die 11 Tracks auf "Dr. Dog" von Soul über Surf-Rock bis hin zu symphonischem Pop mit einer Ausgelassenheit, die durch die wiederbelebte kreative Energie beflügelt wurde. Ihr erstes komplettes Album seit "Critical Equation" von 2018 zeigt Dr. Dog als eine Band, die noch immer, nach über zwanzig Jahren ihrer Karriere, zusammenwächst und sich weiterentwickelt.

2024 Repress

In the midst of House music's burgeoning scene in 1986 Chicago, a young local DJ named Jonathan Gilbert, known as Scrappy, seized a golden opportunity to showcase his skills at the renowned Medusa's Club's video room. It was in 1987, one fateful night, when the main DJ failed to show up, that Gilbert stepped in, securing a residency at one of the city's hottest spots. As the year progressed, Gilbert ventured into music production, teaming up with The Boxx Boys--Jim Marcus and Van Christie, notable for their later formation of the iconic group Die Warzau. Their collaboration birthed the legendary acid house anthem from Chicago, "Freeze," which Gilbert released under his Zap Records label in 1988, solidifying his place in Chicago's music history. The track became a timeless favorite, and is often featured in Jerome Derradji's sets. With Scrappy's gracious consent, we have the privilege of reissuing this seminal track, along with delving into his archives to uncover previously unreleased gems and alternate versions from his Atlantic Records era around 1990. For a brief period, Scrappy rode the waves of Chicago's house scene with his distinctive flair before bidding farewell to pursue new horizons in California. Presented for the first time on Still Music, "Acid House + Medusa's - Chicago, 1987-1992" invites listeners on a journey through the vibrant tapestry of late-eighties Chicago House. DJing, indulgence, romance, and the pulsating beats of acid house defined Scrappy's era, and fortunately, he left behind a legacy of unforgettable house tunes, emblematic of the city's unparalleled musical spirit. This limited edition DLP release, accompanied by an insert detailing the captivating tale of one of Chicago's unsung talents, ensures that Scrappy's story and his contribution to the era remain etched in musical history.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

"On “We Are Where We Are,” a glimmering mid-tempo highlight from Annabel’s new album, Ben Hendricks sings of “a modern way to fill the empty space.” Worldviews, the band’s fourth LP and first in nine years finds the band reconciling with the ways the world has changed in the decade since they’ve been away. His protagonists are trying to determine the boundaries between what’s real and imagined, navigating their worldviews and the dominant ones around them, fighting for an escape or at least a distraction, wondering where the time goes, “going through the motions, running in a circle.” That could’ve been Annabel’s fate, too. But the core of the Ohio band is brothers Ben and Andy Hendricks, and as long as they’ve got each other, we’ve still got Annabel. In a world that feels so uncertain and so disconnected, where else is there to turn but back to Annabel? Think of Worldviews less like a comeback and more as the product of years spent gestating.

Hendricks spends the chorus of “All Time” promising to “make up for all the lost time,” and Annabel makes good on that promise for the next half hour. Worldviews is the most locked in the band has ever sounded, perfecting and building on their indie-emo sound. The title track and “Dog” are classic Annabel, sprightly and jangly midwestern rock songs, while “Defense Mechanism” is a rougher-edged update; when they go in the opposite direction, it results in some of their best work: “Every Home Needs a Ghost” is spartan and spectral, worthy of its title, and the beautiful “Small Victories” dabbles in downtempo electronics. They don’t sound like a band returning after nearly a decade; they sound at the same time hungry and lively like scrappy upstarts and wizened and seasoned like they never left."

Color Vinyl Repress

The world moves faster than ever these days, and even in the digital age, things can always be counted on to go in cycles. Despite all of the advances in computer recording technology, home studios, and electronic instruments, there is a flourishing interest in analog recording techniques and in recreating the mood and sound of vintage soul records. With one foot in the past but their eyes firmly set on the future, El Michels Affair are among the leaders of a resurgent funk & soul movement from New York City that’s sweeping both the music community and the charts.

Led by saxophonist/organist Leon Michels and producer/engineer Jeff Silverman, El Michels Affair began as a loose collaboration of session musicians (including members of top-selling acts Sharon Jones & the Dap Kings, the Budos Band, and Antibalas) that looked to blend some of the vibrant quality of soundtrack records with the recording aesthetic of early reggae, and the rawness of 60's rock--they called it 'Cinematic Soul.' This delicate balance was evident on their 2005 debut album Sounding Out the City, which earned critical acclaim and acted as the inaugural full-length release for Michels and Silverman’s burgeoning label Truth & Soul (also the moniker for the duo as a production team).

The buzz generated from the album and a series of moderately successful 7” vinyl singles from Truth & Soul led to an invitation by Toyota’s Scion division for El Michels Affair to accompany the rapper Raekwon of Wu-Tang Clan for a promotional concert. As avid Wu-Tang fans, not only were the band leaders thrilled with the opportunity, but Michels found that the ‘Cinematic Soul’ sound was consistent with the moods of RZA’s gritty soundscapes on the classic Wu-Tang releases. The concert was such as success, El Michels Affair went oan to play several more concerts nationwide backing Raekwon and other members of the Clan, and the shows led to the recording of two smash 7” singles featuring instrumental reinterpretations of the Wu-Tang classiac songs “C.R.E.A.M.” and “Bring Da Ruckus.” The singles combined to sell an extraordinary amount of over 7,000 units worldwide, and their success led to a contract in 2007 with indie hip hop powerhouse Fat Beats Records to record an entire album of Wu-Tang Clan interpolations entitled Enter the 37th Chamber.

Since the contract was inked, a worldwide explosion of retro soul led by Amy Winehouse, Mark Ronson, and Sharon Jones and the Dap-Kings has transformed the pop music landscape, and the Truth & Soul production duo have been in strong demand, recording with everyone from breakthrough Grammy-nominated artist Adele to punk rock innovator Iggy Pop. They’ve been commissioned for official remixes of Amy Winehouse and Dinah Washington (for the popular Verve Remixed series), and produced for Australian multi-platinum acts Jet and Gabriella Cilmi.

Despite the eclectic group of clients for the Truth & Soul production company, El Michels Affair continued to build an audience within the hip hop community. A track from Sounding out the City was sampled for Ghostface Killah’s 2007 track “Shakey Dog Lolita,” and a horn part written and performed by Michels (for Menahan Street Band) was famously lifted for Jay-Z’s smash single “Roc Boys.” Truth & Soul also worked in the studio on original productions with multi-platinum producer Just Blaze (T.I.’s “Live Your Life,” Jay-Z, Usher).

With their increasing presence behind the scenes in the industry, El Michels Affair looks to have their status as recording artists rise significantly in 2009. With the release of their finally-completed album Enter the 37th Chamber, they can finally step out of the shadows of the retro-soul trend and establish their status as one of the most exciting and versatile bands in modern recorded music.

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.