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auchen Sie ein in die aufregende Welt des Rock‘n‘Roll . Unsere neue Vinyl-Serie “Rock’n’Roll Hits“ enthält eine sorgfältig ausgewählte Sammlung von 20 originalen Rock‘n‘Roll-Hits aus den 1950er Jahren, die die Ära des Rock‘n‘Rolls in seiner Blütezeit einfangen.

Mit legendären Künstlern und unvergesslichen Songs bietet diese Schallplatte ein Stück Musikgeschichte zum genießen. Mit dabei sind: Guy Mitchell, Frankie Avalon, Buddy Holly, Little Richard, Elvis Presley, Fats Domino uvm. Erleben Sie die Energie und den Spaß der 1950er Jahre Rock‘n‘Roll-Szene auf dieser hochwertigen Vinyl-Schallplatte. Perfekt für Liebhaber der Musikgeschichte und Fans zeitloser Hits.

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

All the essential tracks of Funk, sung by the greatest legends of the genre, gathered in a double vinyl, with :

Johnny "Guitar" Watson - Imagination - Grandmaster Flash - James Brown - Loleatta Holloway - The Whispers - First Choice - Barry White - The Sugarhill Gang - Syl Johnson...

A label sampler showcasing the best of Winspear’s releases from its early days to the present day. The sampler features cuts from Barrie, Divino Niño, Slow Pulp, Video Age, and more. Digital download included with the LP includes never before heard b-sides and rarities from across the label roster. Winspear Volume 01 is a label sampler from Winspear. It’s a collection of standout songs from the label’s catalog, spanning from their early years to the present day. Featuring tracks by Barrie, Divino Niño, Slow Pulp, Video Age, and more. The digital version of the label sampler (including the digital download that comes with each physical album purchase), will include never before heard demos, b-sides, and rarities from across the label roster. The release of the sampler will be celebrated at a label showcase at Thalia Hall in Chicago. The event, Winspear Review, is happening for the 4th time in the label’s history

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

Long festering on the West Coast, Frankie and the Witch Fingers have carved out a niche that’s equal parts molten tar pit teardown and end-stage anxious careen. As they wind out of the stoned-ape psychedelics of their 2020 opus Monsters Eating People Eating Monsters… their sound, over a series of singles, has begun to thicken and throb. It’s coalesced into a darker strain that ingests the explosive impulses of R&B, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They weld their arsenal of influences to a chassis of nail-bitten bombast. On the upcoming Data Doom the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.

Happy to see the 'Doing It In Lagos' compilation from 2016 on Soundway being repressed. It's one of the few comps out there that put together so many amazing boogie tracks hailing from Nigeria. Nowadays it's really tough to find good condition copies of the original records, and if you do it will cost you a lot of cash too. This 3 LP with 7 inch bonus takes ((arguably) the standout tracks from the LP's and to create this 20 track opus. It's safe to say that it has a great bang for buck ratio if you like that infectious boogie sound infused with catchy synths, bumpin' basslines and often killer drumcomputer programming.

If you are new to these sounds it's a perfect intro into the works by these very talented musicians that had a high output during the end of 70's and 80's, we encourage you to dive deeper into material from the hands of for example Jake Sollo, Dizzy K. Falola, Tony Okoroji, Odion Iruoje, Nkono Teles. You will find many more names along the way..

Compliments for Uchenna Ikonne who co-compiled this and accompanied the release with liner notes.

2nd Grade, Dear Nora, Frankie Cosmos, Tony Molina, Big Star, Paul McCartney. This is Diners’ 7th full length album, produced by Mo Troper (Lame-O Records). On Domino, Diners has replaced their gentle pop sound with a more bombastic rock and roll approach while maintaining their upbeat positive world view. Diners teamed up with power pop prince Mo Troper and Grammy nominated engineer Jack Shirley to deliver her best record yet. For the last ten years, LA-based Blue Broderick has been making daydreamy guitar pop as Diners, outlining her optimistic worldview within the simple catchiness and charming style of ‘60s luminaries like Harry Nilsson and Brian Wilson. On “Domino,” her energetic new album, she’s taken a turn toward overdriven, uptempo power pop, applying her affirming lyricism to an unabashed rock record. With production help from Portland songwriter Mo Troper, “Domino” places her breezy melodies alongside stomping Big Star guitars and hazy fuzz bass, lending a new urgency to her anthems. “This is the rock record that I always wanted to make,” Broderick says. “I know that any time I turn it on, it’s what I set out to do

Twice Removed From Yesterday: 50th Anniversary
Deluxe Edition
Twice Removed From Yesterday is Robin Trower's first solo album after
leaving Procol Harum in 1971 and hooking up with Frankie Miller in the
band Jude
Featuring ex-Stone The Crows bassist/ vocalist James Dewar and Reg Isidore on
drums, it was originally released in March 1973 and heralded the beginning of this
legendary power trio, paving the way for Robin to be the deserved guitar hero that
he is. A mix of hard bluesy rock, the album contains nuggets of genius
throughout, none more so than on the title track, I Can't Wait Much Longer, and
Daydream amongst others.This new deluxe version is housed in a gatefold sleeve
and is remastered for 2023. It features 3 unreleased versions of album tracks, the
B side of the "Man Of The World" single (Take A Fast Train) and 4 BBC John Peel
sessions.

Death Is Not The End sub-label 333 hit again with a reissue of a rarely encountered piece of prime UK digi, courtesy of Franklyn Bernard aka Frankie B - mixed at Fashion's A Class Studio in Clapham, and released on the Ital Stuff label in early 1986.

Frankie B began his recording career with producer Bert Douglas, first releasing on his Reggae City label in 1984 with the No More Tears 7" under his birth name Franklyn Bernard. In 1985 he then linked up with Ital Stuff - a production team consisting of three brothers who also helmed the Sweet & Bitter Band. Operating a small eight track studio in the basement of their house in Balham, Ital Stuff had recently been responsible for putting together and laying down the backing track to Dixie Peach's classic Pure Worries, released on the Jah Tubbys label in 1985. Upon playing Pure Worries to Frankie he was immediately inspired to lay down his own vocal on the track, which too features Dixie Peach contributing vocal harmonies - it was recorded late 1985 and mixed down along with a ferocious dub side at South London's A Class Studio, eventually seeing release in early 1986.

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

Sophistication is a very apt description of both the music and the performing artist that is Bill Albright (real name Anthony Bills). Born in 1961 and raised in Baltimore, MD. Albright received a vocational as well as an associates degree in Electrical Engineering and Technology during 1981 the same year as he was blessed with the birth of his son Anthony Jr. From 1982 through to 1985 Bill had moved to New York City to model professionally for several major retail corporations such as Macy’s and Bloomingdales making good use of 170 pounds, six feet tall frame and handsome photogenic looks, while still finding time to hone his singing, songwriting and studio engineering skills through attending art Composers Theatre. His musical management and composing skills were to continue upon his return to his native Baltimore in 1986 as the prelude to him joining the national fundraising touring team for The United Negro College Fund in conjunction with the National Basket Ball Association (NBA) Slam Dunk Contests. Interacting with such celebrity players as Magic Johnson, Arsenio Hall, Spike Lee and Robert Townsend and Atlanta Hawks team mates Spud Webb and Dominique Wilkins.



Through his travels during 1989 Albright decided to settle in Atlanta, GA, making it his home to this present day. Once settled he founded his own cleaning business ‘All Bright Cleaning Services Inc’ built on good old-fashioned ethics of hard work and a strong determination to succeed, the exact same traits that he would later display in his future musical journey. While providing his cleaning services to major commercial companies, home, office and car detailing Albright found the time to continue pursuing his musical ambitions with a strong emphasis on live and recorded performances. In 1993 Albright formed ‘Bill Albright Productions Inc’ working with the late Keith “Keecho” Rawls the former Keyboardist and Musical Director for Peabo Bryson. Albright’s work has often been likened to Peabo’s for obvious reasons as well as Luther Vandross and Johnny Gill, He also draws inspiration from the stars of his youth Nat King Cole, The Isley Brothers, Frankie Beverley and Marvin Gaye amongst others. Albrights productions while being contemporary still retain an old school leaning which widens his appeal to a broader audience. Feeling that the time wasn’t right to release his material Albright continued with his successful cleaning business and live performances, that was until 2022 when he released the first of his productions (as a download only) the stylish “Sitting By The Phone” which gives more than a passing nod to Billy Stewart’s timeless classic “Sitting In The Park” but recorded in Albright’s own unique way. Albright’s second and forthcoming release is the more contemporary mid-tempo mover “In The Middle Of The Night” (only available as a download in the United States) but is due for a simultaneous vinyl 45 release in the UK paired with the aforementioned “Sitting By The Phone” as Soul Junction’s next 45 outing.

Der Score zum vielbeachteten Film von Regisseurin Charlotte Wells starring Paul Mescal und Frankie Corio.

Mit seinen Kompositionen - einer glühenden Form von Ambient-Musik - ist es Cellist, Komponist und Electronic Music Producer Oliver Coates gelungen, der Kinematographie emotionale Farbe zu verleihen.

Leichter und zarter als seine frühere Arbeiten, steht Coates' Score für die Erinnerung im Film, für das wachsende Bewusstsein, dass der Film eine Erinnerungsreise sein könnte, die versucht, dem erlebten Trauma einen Sinn zu geben. Der Score gibt dem Film das Gefühl, dass er beginnt, sich seiner selbst bewusst zu werden, wie ein Film im Film. Mit der Zeit entfaltet sich die Musik und hilft dem Zuschauer, über das Naturalistische und Diegetische hinauszugehen. Sie besteht aus einfachen Elementen, alten Synthesizern, umgekehrten und verlangsamten Streichern. Diese, so erklärt der Komponist, "enthüllen allmählich die Trägheit in Calums (Paul Mescal) Auftreten und suggerieren, dass etwas über ihm schwebt".

Enthalten auf dem Score ist auch 'One Without', das vieldiskutierte Musikstück, das in der Schlussszene und im Abspann zur Verwendung kommt, noch lange nachhallt und laut Coates auch als Blaupause diente für den gesamten Score.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin’s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin’s solo output is best remembered for his two solo outings with the Black Jazz label- “The Skipper” & “The Skipper At Home”. Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin’s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz’s most influential heartbeats.

Weekend Recovery are back with a brand-new album ‘Esoteric’. Mixing equal measures of in-yer-face vox, overdriven guitars and straight-talking lyrics, it’s this mix that’s seeing the Sheffield indie-pop trio into editorial playlists on Apple, Deezer and YouTube alongside shows at Kendal Calling, Bingley Weekender and sell out dates including Corporation Sheffield. The first cuts from the record ‘Chemtrails’ and ‘No Guts All The Glory’ hit the airwaves with a bang, amassing plays on BBC Radio 1 Introducing (Gemma Bradley, Nels Hylton), BBC 6 Music (Steve Lamacq, Chris Hawkins, Fresh on the Net), Radio X (John Kennedy), Kerrang! Radio (Johnny Doom), Amazing Radio (Charlie Ashcroft, Shell Zenner, Frankie Francis), Absolute Radio (Frank Skinner), Planet Rock (Wyatt Wendels), BBC Sheffield (Christian Carlisle, Ellie Colton), BBC York (Jericho Keys), RTE 2 Ireland and as far as KEXP, Seattle and national USA station Sirius XM (Rodney Bingenheimer). The latest single ‘No Saint’ features Joel Arthur from local bandmates Hydeout and represents the harder edge in their third studio album.

Limited to 1000 copies on Sea Blue vinyl! There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the COVID-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Deep into lockdown, Frank pulled out Bernie Grundman's original 24 track masters of the "In a Minor Mode" ep, digitizing and exploring the original multi track recordings. Inspired by newly rediscovered parts recovered from the editing floor, what followed was a faithful but full-blown reimagining of 'Loveroom' Strangelove are proud to present this definitive version alongside a deep dive into Echoes LP favourite 'Down By The Rio' Frank's FM friendly take flipped on the B side with Frakas' trippy diced up vibe alongside a bumping beatdown version from New Zealand's finest Julien Dyne. Essential Balearic heat beat!

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Johnny Cash, eine der schönsten Legenden des Rock'n'Roll. Eine Stimme, ernst, tief, für alle erkennbar. Ein Gesicht, mit einem harten, dunklen, manchmal tragischen Ausdruck. Diese einzigartige Silhouette des 'Man in Black', ganz in Schwarz, vom Stetson bis zu den Stiefeln. Es ist schließlich eine Legende, die um ihn rankte, deren Entwicklung er manchmal förderte und manchmal bekämpfte. Dieser illustrierte Bildband enthält 16 Klassiker seiner Frühphase auf Vinyl.

4 Tracks made in the 305. Featuring beats from a mysterious crew from the margins of the Miami underground. Good times, jams, machines, and lots of fatties. Don't sleep!

repressed !

A lot can happen in 15 years. Few things manage to thrive for a decade and a half, especially in music. But a scrappy, left of center, Bay Area house music label, Dirtybird, has managed to do just that. Claude VonStroke, Dirtybird’s founder, is marking this 15-year milestone the only way he knows how… working. This year, VonStroke will throw two dozen-plus parties, three festivals (including the famous Dirtybird Campout), host his traveling Dirtybird BBQ series in major cities across the US, publish a coffee table book, release a seasonal clothing line, stage art shows, produce a fly on the wall docu series...and kick it all off by releasing a new album, out February 21st.

What began as a free party, turned basement record label, has morphed into a truly thriving community whose familial, fun and welcoming vibe has won over hearts and minds across the world. And while Dirtybird has grown and evolved, VonStroke’s core focus on music remains unwavering. The new album ‘Freaks & Beaks’ is a celebration of quirky innovation and a relentless pursuit of something new and fresh, while hearkening back to the freewheeling spirit that inspired the launch of his label. This is a project that draws upon the inspirations of family, old friends, new fans and proper dancefloors.

Claude will let his flock wet their beaks while they wait in anticipation of the new album with two new singles demonstrating the breadth of the dance music landscape explored on the record. Youngblood touches on the deeper sides of Claude VonStroke, a throwback to the label’s early days, featuring local LA music house talent Wyatt Marshall, while All My People in the House is a dancefloor heater that is sure to unite new and old Dirtybird fans together.

Today, Claude also delivers fans part one of an intimate video series, shot by his sister Emily (an accomplished filmmaker), documenting the creation of ‘Freaks and Beaks’, celebrating this historic milestone and taking a deeper dive into the day to day life of Claude VonStroke on the road.

‘Freaks and Beaks’ is the fourth artist album and sixth full-length project from Claude VonStroke. He approached the album with a new process, including committing to daily creative time, experimenting with a lot of new hardware and having fun creating a huge amount of sketches. He made music on many levels of gear all the way from complex modular synths to simple drum apps on his iPad. Keeping it all DIY, he sampled his own voice and his two children on several tracks as well. He allowed himself to breathe while creating over 130 ideas, which were whittled down to the finished 11 album tracks.

Freaks & Beaks nods at the inspirations that underpin VonStroke’s world, inside jokes between him and Justin Martin (FlubbleBuddy), unused experimental live sessions (Session A), playful noodling on synths (Alpine Arpline), obscure French producers (Frankie Goes To Bollywood), championing new talent (Youngblood), irreverent self-aware humor (Birthday Messages) and genre inspirations that range from ghetto tech and drum n bass to hip-hop and breaks. This is VonStroke’s love letter to the vibrancy and genre diversity that have made Dirtybird such a singular label.

Orange Vinyl

Another Raval Rave compilation with new faces from Barcelona and Madrid. Iberian breakers on M.U.S.A. Pressed on Orange rave with insert

A relatively new label based out of Brooklyn, New York, their third release BKS-03 continues to build off of the success of BKS-01 and BKS-02 and again enlists local NYC underground heroes to fill out the Various Artist format, with interludes spread throughout.

The first track on the A-side enlists House Legend Eric Kupper, who frequently collaborated with the late Frankie Knuckles and is responsible for some of Knuckles' biggest hits, drops an absolute stormer of a track that will get any party started. Track two sees Andrew Licata go deep and dreamy with beautiful pads and great percussion perfect for an outdoor jam session or deep in the afterhours.

The B-side enlists BK Sway regulars DeWinter & Emma for a dance floor filler that's bound to shake any massive sound system. Track 2 sees After Touch and Jay Prouty get heady with deep jazzy vibes and a trippy spoken word to complete the package.

Label art from NYC mural legend Cern aka Cernesto.

Long before today's 'rebellious' pop idols, singers Frank Sinatra,
Dean Martin and Sammy Davis Jr. plus Actor Peter Lawford and
Comedian Joey Bishop had entered showbiz legend as the
genuinely hellraisin' Rate Pack. The handle proved a gift to
journalists chronicling the life and high times of the all-male quintet
whose leading lights were, without a doubt, three of the greatest
entertainers of the 20th Century. Captured on this 3LP compilation
album are some excellent musical memories performed at their best

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

Along with The Mills Brothers, the Ink Spots blazed the way for
black music groups, creating a path for many to follow. They
proved tremendously influential, with Bill Kenny's lead tenor
inspiring such as Sonny Til (The Orioles), Curtis Mayfield (The
Impressions), Frankie Lymon (The Teenagers) and scores of
others, while Hoppy Jones's trademark talking bass role inspired
an equal number of followers.

180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.

Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.

'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian

'These songs played a big part in shaping my tastes in music.' - Elvis Costello

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.

Johnny Cash (* 26. Februar 1932) ist eine Legende der Musikgeschichte. Sein Tod am 12. September 2003 war ein Schock für viele Fans, obwohl er wenig überraschend kam. Seine hemmungslose Drogensucht und sein exzessiver Lebensstil in den Fünfzigern und Sechzigern, die erst durch die Liaison mit June Carter ein Ende fanden, waren allgemein bekannt. Dabei war Cash in erster Linie der größte und einflussreichste US-amerikanische Country-Sänger, und ein begnadeter Songschreiber dazu. Cashs Markenzeichen war neben seiner markanten Bassbariton-Stimme und seinen kritischen und unkonventionellen Texten der "Boom-Chicka-Boom"-Sound seiner Begleitband Tennessee Three, der an einen rollenden Zug erinnerte. Cashs musikalisches Spektrum reichte von Country, Gospel, Rockabilly, Blues, Folk und Pop bis hin zu dem von Rick Rubin ab Mitte der Neunziger kongenial in Szene gesetzten Alternative Country. Legendär sind seine Konzerte in den Gefängnissen Folsom und San Quentin Ende der Sechziger. Cash schrieb etwa 500 Songs, nahm rund 2500 Titel auf, verkaufte mehr als 50 Millionen Tonträger und wurde mit 13 Grammy Awards ausgezeichnet. Zudem trat Cash in einigen Filmen und Fernsehserien als Schauspieler auf.