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Marvin Gaye at his very best! Two classics from Gaye’s esteemed catalogue, ‘I Wanna Be Where You Are’ and ‘I Want You’ with alternative mixes that have never been on 12 inch before. Plucked from the Deluxe Edition of the spellbinding ‘I Want You’ album that was mixed Kevin Reeves & remastered by Ellen Fitton, these two cuts have always called out for loud and proud pressing on either side of a 12.

Up first, ‘I Wanna Be Where You Are’ written by the magical pairing of Leon Ware and Arthur 'T-Boy' Ross with Ware also behind the production controls. An abbreviated cover of Michael Jackson’s hit, it sees Gaye take a brief respite from his usual steamy and sensual swooning to express his love for his family. Jackson would then return the favour, taking influence from Marvin’s 1977 hit ‘Got to Give it Up’ to make ‘Don’t Stop ‘Til You Get Enough’.

Originally a 1:17 minute segue on the album, the Unedited version clocks in at over 6 minutes, turning it from a transitionary passage to a standalone gem. Extending those delectable grooves, building and breaking with a sun-kissed, funk channelling feeling that washes over like a warm wave. With the 7 inch release trading hands for over £75 on Discogs this ain’t one to miss.

On the flip, ‘I Want You’ written by the same duo as the A, with Leon Ware once again on the production and released as part of the same ’76 album. It was an LP that introduced a change in musical styles for Gaye, songs such as this giving him a disco audience thanks to Leon Ware. The Jam-Alternate version leaves Gaye’s vocals till the final section, letting that sweet soaring soundtrack sing to its absolute emotive peak. Sunrise or sunset, this one is not to be used lightly - tears of joy on the dancefloor guaranteed.

Following my recent phone call with Prof. Benson, I left him to continue his 92nd birthday celebrations with his family. We'd talked about his life, his music, his achievements. Throughout our conversation it struck me what a kind, humble and pleasant man he was. I felt that I was in the presence of greatness – not the egotistical greatness that emanates so often from high achievers, but that of someone who had simply won at life.

"I was a music teacher. I wasn't trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had... I was doing it for the kids."

It was 1973 that Prof. James Benson had self-funded his private press LP for the benefit of the teenage musicians he tutored at Cal Poly, California. The album was a momentous achievement for him and his young protegees, something they were all proud of, and rightly so. Taking inspiration from their recent trip to Africa and blended with the radical jazz associated with the young minds of early '70s black America, the Gow-Dow Experience is a unique foray into the enthusiastic mindset of up-and-coming jazz musicians, as encouraged by their mentor Prof. Benson.

We present the album as it was released in 1973 with a heavyweight tip-on jacket and 180g vinyl or on CD. We also include an insert with liner notes and photos provided courtesy of Prof Benson. The LP and CD come with 4 additional tracks taken from the recording session. Until now these tracks have never been heard since the day they were recorded - believe me, they're worth the wait!



Made with love from Jazzman - because we love to dig deeper!

After a meteoric rise in 2018 following the release of his debut album, 'Free Me', J.P. Bimeni's remarkable and soul stewed journey continues with the release of the classic Jackie Edwards track 'Keep on Running'. Recognised as a stone-cold soul music canon afer the UK's Spencer Davis Group's 1965 stewarded the song to top of the pops in 1965, Bimeni adds his sweet Burundian touch aided and abetted by the Black Belts and a terrific hammond organ. 'I Miss You ' is on the flip and features on the long player - a devilishly emotional lament that harks back to the motor city cerca late '60s. BBC 6Music and Craig Charles awarded Bimeni and his band 'Album of the Year' at the end of 2018 and critics and fans have been blown away since his album and remarkable story came to light. Bimeni is a royal refugee turned soul survivor with a remarkable story of resistance having fled Burundi's civil war after three attempts on his life, landing in Wales as a teenager. On his debut album Free Me, Burundian-born JP Bimeni astonishes with a voice that recalls Otis Redding in his prime whilst resonating with the soul of Africa. Living in London since the early 2000s, Bimeni songs of love and loss, hope and fear deliver with a conviction that comes from the extraordinary experiences life has thrown at him. With classic 60s-sounding Motown and Stax-inspired grooves the album was written by musical director Eduardo Martiìnez and songwriter Marc Ibarz and Bimeni imbues these tales of love and loss with his tragic experiences making 'Free Me' a deep soul soundtrack to his pained life: 'When I sing I feel like I'm cleansing myself: music is a way for me to forget'. For Bimeni, music is a way to survive: 'You can't entertain the pain of your problems all the time - you have to put them away and let something else fill the space where it's just been pain, worry and terror.' He's a spiritual soul singer yet also a soul-singer with spirit, and his infallible positivity can be an inspiration to us all: 'It's my dream to return to Burundi one day - but I always remember that getting shot enabled me to meet the world."

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.

Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs.

In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up.

Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.

"From her opening, jaw-dropping lift-off with early blues standard "Trouble In Mind," the unique
otherworld Karen conjured springs into vivid life. Playing to audiences inevitably bound to the era's formalities and traditions, Karen instinctively pushed the envelope, straying into uncharted territory beyond the established borders. She must have bewildered many who came to see her in those winsome Peter, Paul and Mary times." From the liner notes by Kris Needs

The follow up to 2021's "Already Made", Elder Jack Ward is back with a new offering of original sacred soul compositions. Backed by the all-star memphis session crew The Sacred Soul Sound Section and accompanied by his son and daughters for backing vocals.

Einige Leute haben angemerkt, dass Tinariwen schon immer eine Country-Band waren, wenn auch eine nordafrikanische Interpretation dieses nordamerikanischen Genres. Dieser Gedanke wird auf dem neuen Album Amatssou noch verstärkt. Hier verschmelzen die für die Tuareg-Band typischen schlängelnden Gitarrenlinien und hypnotischen Rhythmen nahtlos mit Pedal Steel, Klavier und Streichern von Gastmusikern wie Daniel Lanois, wobei die verschönerten Arrangements den Liedern eine epische, universelle Bedeutung verleihen. Die Texte sind voller poetischer Allegorien und rufen zu Einheit und Freiheit auf. Es sind Lieder des Kampfes und des Widerstands mit schrägen Verweisen auf die jüngsten verzweifelten politischen Umwälzungen in Mali und die zunehmende Macht der Salafisten. Der Albumtitel Amatssou ist tamashekisch für 'Jenseits der Angst', und das passt. Tinariwen haben sich schon immer durch ihre Furchtlosigkeit ausgezeichnet oder wie Bob Dylan einmal sagte, besteht die Kraft des Rock'n'Roll darin, dass er uns 'die Angst vergessen lässt', uns die Kraft und die Widerstandsfähigkeit gibt, uns den Widrigkeiten zu stellen. In den zwei Jahrzehnten, seit Tinariwen ihre Basis in der afrikanischen Wüste verlassen haben, um durch die Welt zu touren, haben sie viele bekannte Country-, Folk- und Rockmusiker aus den USA kennengelernt, darunter Kurt Vile, Stephen O'Malley, Jack White und Wilco. Der zeitlose Horizont der endlosen Sahara und die wilde Grenze des Alten Westens - mehrere tausend Meilen Ozean mögen den Wüstenblues von Tinariwen und die authentische Country-Musik des ländlichen Amerikas trennen, aber die Verbindungen sind ebenso greifbar wie romantisch.

Canto A Lo Divino is the unique musical expression of the Chilean peasant world - a conversation with the divine nourished by Biblical and other sacred texts. It is communal music, played in packed rooms throughout the night on the 25-string guitarron, its ancient melodies transmitted through the 10-line decima form originating in Spain and found across the Caribbean, South America, and even into the Mississippi Delta. Rooted in the remote Central Valley of Chile at the skirt of the mountains and following the slopes of the major rivers, the Canto tradition has persisted for centuries in the voices of hundreds of men and women who sing of saints, divine images, and angelitos (very young children who have died). The verses are also centered around daily life in the valley - labor and drought, family, animals, and plants. There are countless entonaciones (melodies) that define this region, its communities, and its unique worldview. Mississippi Records is privileged to work with the Museo Campesino En Movimiento and their archive of hundreds of hours of intimate field recordings of the Canto - music rarely, if ever, heard outside of the region. Artwork is provided by another inhabitant of Chile's Central Valley, a baker called Frederico Lohse, who brought divine visions from the Cantos to life, painted on reused flour bags. Canto A Lo Divino celebrates the complexity and solemn, stunning beauty of this nocturnal, communal form of musical devotion. Double vinyl LP comes housed in deluxe gatefold jacket with 8 pages of lyric translations and liner notes about the Canto tradition by researcher Danilo Petrovich.

Is A Feeling follows up its debut 12" with a classy and varied house offering from Triform. It kicks off with some old school and jacked-up sounds on 'Not For Radio' where analogue drums, silvery cowbells and ticking hi-hats get you in a sweat. Then it's a more drum-led and low-slung affair on the swinging 'Dub 3'. 'Mr Chr$ (65)' shows this artist's range as things become more stripped back and tech-inclined, with silky drum loops and watery droplets backed by diffuse chord work. 'Timeless Groove' then heads back to the old school with lush piano chords and sustained pads bringing the good times.

Initially releasing on Oscilla Sound, then following up with records on Intramuros and FTD, E-Unity gained wider recognition when Resident Advisor described "post-Livity techno with a dreamy twist, from this promising young Frenchman". His next release – on TEMƎT – saw him inaugurate the imprint with the ‘Duo Road’ EP – four tracks of electronic futurism, jerky rhythms and dubbed-out frequencies.

‘BBB<3’ is an LP of club ballads that echo his influences, ranging from hyper-pop, Latin music, the hardcore continuum and post-dubstep stylings, featuring heavy bass mutations, spacey synths and hybrid rhythmic compositions.

In an uncertain world, E-Unity takes the opposite approach to a lot of contemporary electronic music which is always faster, harder and somehow dystopian. Instead he offers a record filled with sensibility, love and positivity, fighting the evil forces with heart emojis and sub-reinforced sonic weapons.

E-Unity shows extraordinary musicality and eclecticism throughout his productions and DJ mixes. His b2b set with Simo Cell at Positive Education Festival and former monthly residency on Rinse France solidified his notoriety as an adventurous yet thoughtful selector.

TEMƎT was launched by Simo Cell with a mission to release cross-genre electronic music, placing focus on the French music scene, whilst developing collaboration across different artistic disciplines. Previous artists to release on the label are Lolito, Less-O, Second., elise, E-Unity and Simo Cell, plus additional contributions from Low Jack, Peverelist and Skee Mask for their mix cassette series.

Australian improvisers Joel Stern and Adam Park dropped their Sunshine Has Blown in 2006 and since then it has acquired a truly cult status. It was a CDR-only drop back then and now makes it onto vinyl as well as CD. It is a droll work in the genre of electroacoustic improvisational music in which the artists excavate lost sound objects, focus on event, space, and moment in history and build real intensity throughout. This remastered special edition repress comes with full colour labels and jacket, an insert and liner notes by Christoph J. Harris.

An unmissable pairing of Texan-born soul queens! Ruby Wilson was Memphis based for most of her life whilst Emily spent her formative years in Houston before relocating to Stockton, CA, to raise her family. Both were signed to Malaco Records in Jackson, MS, where these two timeless example of Southern Soul were recorded nearly 30 years apart and now appear on 7” vinyl for the first time.
Ruby Wilson first came to our attention in the mid-70s with two singles on T.K. subsidiary Glades, with Number One In Your Heart and the funkier Sky High both still sounding good today. She signed to Malaco during their most fruitful period, and her self-titled album in 1981, from which this classy below-midpaced selection comes, despite being a typically polished affair never reached the highs with the label that Jewel Bass, Fern Kinney, and of course Dorothy Moore had set over the previous few years. It remained her only outing with them, but she went on to make a further three albums in the late 80s with the Hot Cotton Jazz Band, one with the Climax Jazz Band, and finally back on her own A Song For You (2000 Cadre Ent.) and Show You A Good Time (2005 Unkut Music). She became an accomplished actress and was also known as the Queen Of Beale Street for her many club performances in Memphis. Sadly, Ruby died in 2016, but hopefully this release on Jai Alai will help us remember what a talent she really was.
Not only is Emily David an extraordinary talent, she is a remarkable woman too. Her only album Queen Emily was a direct result of her finishing as a semi-finalist of America’s Got Talent in 2008 at the tender age of 40. She was no stranger to talent shows having won a Sammy Davis Jr award in 1999, but back then, as a single-mother decided to put her singing career on hold to bring up her two daughters. One day her troubled sister arrived to stay but left without taking her two boys with her, so Emily felt she had to bring up her nephews as well. Her dreams of a musical career had evaporated but years later her daughters encouraged her to try once again.
It was almost a year after America’s Got Talent that Malaco boss Tommy Couch Jr. called out of the blue and offered her a contract without meeting her. As Queen Emily, a digital 4-track EP was released in the US, but her eponymous CD album, bizarrely released by Malaco in the UK before the US, is one of the best examples of 21st century Southern Soul, steeped with the label’s trademark live instrumentation by the Muscle Shoals Horns Rhythm Section and contains a number of polished standards such as Use Me, Angel In Your Arms, I Betcha Didn’t Know That and Going Crazy. However, it is the George Jackson-penned ballad Throw Away Me that really stands out and deservedly received critical acclaim in the UK at the time. It now gets a very welcome vinyl debut on Jai Alai and makes for a fabulous pairing.

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

"Recorded at Ardent Studios and released in 1972, the album has gone on to become one of the most influential and iconic debut albums of all time. This 50th-anniversary indie exclusive edition is pressed on 180-gram metallic gold with purple smoke vinyl and features all-analogue mastering by Jeff Powell at Take Out Vinyl. The album has been included in Rolling Stone’s 500 Greatest Albums of All Time, with the song “Thirteen” featured in its 500 Greatest Songs of All Time. Realeased on 180g Tip-on Jacket , Gold/Purple vinyl "

For the last 30 years, Medeski Martin & Wood have explored the boundaries of modern
jazz, incorporating hip hop, avant-garde, world music, and electronic funk influences into
their fearless improvisational style. We at Real Gone Music are thrilled to be bringing the key early albums they recorded for the Gramavision label to vinyl for the first
time…pressed at Gotta Groove Records on black wax for optimum sound!

Its title taken from the first
line of “Old Angel Midnight”
by Jack Kerouac (himself a
legendary improviser), 1995’s
Friday Afternoon in the Universe
flings a whole lot at the wall and
just about everything sticks,
with mid-‘70s Miles Davis the
predominant hue in an ever-changing sonic
palette. “Chubb Sub” is a favorite, and was used prominently in the
Get Shorty soundtrack, but even the most abstract numbers groove
and move. First time on vinyl!

The Reverend Horton Heat ain’t
just a person, or a band—it’s a
state of mind. Drawing on such
crazed rockabilly ancestors as
Charlie Feathers, Hasil Adkins,
and The Killer himself, James
(Reverend Horton) Heath and his
long-time bassist Jimbo Wallace
have, over the course of the
last 30-plus years, helped bring
rockabilly kicking and screaming
into the modern age, marrying
punk with rockabilly to create the psychobilly genre.
And, on their 2000 album Spend the Night in the Box—which,
to burnish the “psycho” credentials, was produced by fellow
Texan Paul Leary of Butthole Surfers fame—The Reverend
Horton Heat struck gold (hence our gold vinyl edition!), going
to #2 on the CMJ charts on the strength of such numbers as
“Sue Jack Daniels,” “The Girl in Blue,” and other misbegotten
tales of babes and booze. This is actually a bit of a return to
a classic rockabilly/swing sound, powered by the Rev’s 1954
Gibson ES-175 and the rhythm section of Wallace and drummer
Scott Churilla, but it’s no less (ahem) heated. Vinyl debut
boasting inner sleeve with lyrics!

Lele Sacchi & Asian Fake’s Stolen Goods Records return with the third instalment of Black Loops & Innocent Soul’s ‘High Cutz’ series, accompanied by a remix from Italian house legends Pastaboys.

After a debut compilation featuring the likes of Bawrut, Elisa Bee, Ruff Stuff & label head Lele Sacchi, Stolen Goods Records amassed a following of Dixon, Harvey, DJ Seinfeld, Dam Swindle & many more. The Italian imprint returns this December, dropping two tracks from deep house mainstays Black Loops & Innocent Soul. Black Loops trawls the depths of his record bag in revered clubs around the world while tallying up releases on labels such as Madhouse, Shall Not Fade and Freerange. Additionally, Strictly Street Sound label boss Innocent Soul has made a name for himself for his energetic deep house music.

Together, they join forces for their collaborative ‘High Cutz’ series, which has previously been released via Toy Tonics and Rough Limited. Robust beats form the backbone of ‘Believe In U’, a plucked bassline brings the funk and passionate vocals provide the soul. They warp its earworm bassline deep into the jacking zone, closing out the first in a series of EP’s on Stolen Goods Records featuring established artists and talented newcomers.

Show Me The Body ist ein in New York City ansässiges Hardcore-Trio, bestehend aus Julian Cashwan Pratt (Gründer; Banjo und Gesang), Harlan Steed (Gründer; Bass) und Jackie McDermott (derzeitiger
Schlagzeuger). Die Band organisiert seit 2015 nicht-traditionelle DIY-Räume für Jugendliche in New York und hat diese Arbeit seither durch ihre zeremoniellen Live-Shows, die Punk-/Hip-Hop-Mischtouren und
ihre CORPUS NYC-Plattform auf eine globale Bekanntheit ausgeweitet. ”Trouble the Water” ist der Höhepunkt von fast einem Jahrzehnt des Kampfes gegen die Gleichgültigkeit von New York City; zugleich eine Aufforderung an eine gleichgesinnte globale Gemeinschaft, die Alchemie der Familienbildung zu fördern.
Trouble The Water wurde komplett in den CORPUS Studios in Long Island City mit dem Metal-Veteranen Arthur Rizk (Code Orange, Power Trip, Ghostemane, Turnstile, Candy, Xibalba, Pissed Jeans) aufgenommen und von Studio-Mitbegründer Aidan Bradley mitproduziert.

Album features legendary AC/DC frontman BON SCOTT on lead vocals.His work with FRATERNITY put Scott on the radar of George Young, AC/DC co-producer and older brother of Angus and Malcolm, eventually leading to Scott replacing then frontman Dave Evans in 1974

For the first time since its initial release in 1972, the sophomore album by Australian psych band FRATERNITY is released again on vinyl, fully sanctioned by the surviving band members and their management since the album’s original release in 1972

Collection includes the original 10-track album plus a bonus second disc featuring three rare maxi-single tracks and two obscure live tracks making their debut vinyl appearance, all newly remastered.

Deluxe package includes gatefold jacket packed with original press clippings and previously unpublished period band photos plus extensive liner notes by original band co-manager Victor Marshall.

São Paulo-based carnival collective and brass band combine retro horns with cumbia, baile funk, jazz, Michael Jackson & more

A Espetacular Charanga do França started as a political act, part of a recent movement which has seen the people of São Paulo reclaim their streets, turning their city into a revelation of Brazilian carnival. The group takes equal inspiration from the powerful charanga horn and percussion bands that stir the crowds at Brazilian football matches, and the expertly-arranged sounds of 60s

samba, finding that sweet spot between musicianship and music that makes you lose your shit. And they do it with humour, clear as day in their covers of Michael Jackson and pagode pop hits, and the baile funk and Balkan rhythms that sneak their way in to the tunes.

Since forming in 2013 the group have become an iconic staple of São Paulo’s revived carnival, generating crowds 15,000 strong. Though COVID-19 put a stop to them hitting the streets this year, in 2020 they made their way to carnival with over 60 brass players and 30 percussionists, declaring their bloco an anti-fascist zone, their reply to a political climate in Brazil that is suffocating human rights, culture and any hope for equality.

“I like to think that Charanga is an oasis in the middle of all the shit that we live, where you don't have to be worried about who you are, what are your preferences, whether you can be comfortable. If you want to parade with us wearing a tea towel you can, you won't be harassed. And it's also about music, it's about listening to music. We do this thing the whole year, we rehearse all year, we do too much so that people can just get crazy and not care about the music.” Thiago França

The group is the brainchild of saxophonist Thiago França, best known as a founding member of Afro-punk explorers Metá-Metá, and one of São Paulo’s most in-demand horn men, with credits on influential albums by Criolo, Elza Soares, Céu and Lucas Santtana. A

Tom Trago returns to Rush Hour after 10 years with a wonderfully accomplished mini-album, tip!

During the years he spent living in Amsterdam, when his DJ career seemed to become an unstoppable juggernaut, Tom Trago was a regular visitor to Deco Sauna, a local institution that helped him “decompress” and de-toxify his body. Eventually, a more extended period of “decompression” was needed, with Trago moving to the coast to reassess his priorities and spend more time with his young family.

‘Deco’, his sixth album and first for Rush Hour in a decade, was recorded following an extended absence from club dancefloors, as Trago cut back on DJ commitments to prioritise family life. When he returned to the studio, often with his daughter by his side, Trago initially struggled to get back into the groove. The desire to make dancefloor-focused music had – temporarily, at least – deserted him; instead, he found himself drawn towards a desire to create “electronic lullabies” and music that reflected his more pastoral environment (his home backs on to a patch of woodland in which he would walk every day).

Returning to his most familiar synthesisers – and specifically the first synthesiser he bought, on credit, as a young DJ and wannabe producer – Trago set about navigating different musical routes without the straight-jacket of club-focused dancefloors. Occasionally, old friends from Amsterdam would join him in the studio – Tracey and Maxi Mill, both of whom are part of his Voyage Direct label roster, contributed to tracks on the album – but for the most part the production process was a solo endeavour: musical therapy for an artist determined to do things differently after years spent making club hits and sweat-soaked peak-time workouts.

The results are rarely less than spellbinding. Trago sets his stall out with opener ‘Dark Oak’, a gorgeous, colourful, sun-bright scene-setter co-produced by Tracey that layers tumbling lead lines, chiming melodic motifs and kaleidoscopic chords atop the gentlest of bubbly beat patterns. Maxi Mill lends a hand on ‘Central Park’, a deep and hypnotic excursion marked out by rhythmic bleeps, minimalistic beats and layered melodies, and the summer sun-down rush of ‘Never Peace a Puzzle’, where kaleidoscopic synth sounds, meandering solos and looped electronic stabs rush towards a dancefloor of the mind.

Trago’s desire to create “electronic lullabies” for his young daughter comes to the fore on ‘To Be Left Unlocked’, a hypnotising fusion of spacey electronic motifs, Steve Reich style (synth) marimba melodies and slowly building musical intensity, while the echoing Fender Rhodes riffs, squelchy synth-bass, glistening guitar notes and sparse, snappy post hip-hop beats of ‘When The Sky Is Watching Us’ doff a cap to the producer’s roots as a bedroom beat-maker.

Given the project’s genesis, it’s perhaps fitting that Trago chose to conclude proceedings with ‘It Might Be Forever’ and the digital only ‘Blue Dope’, the album’s most rejuvenating, immersive, and vibrant moments. Both feature sustained chords painted with vivid aural brush strokes and come blessed with the merest hint of a rhythmic pulse – a thread that subtly runs throughout Trago’s most mature and musically rich album to date.

Matt Anniss

Grammy Award Nominated 'Solace' LP pressed on 180gram vinyl with a gatefold jacket.

It is through this seamless transcendence of styles that their own sonic realm has unfolded; a landscape painted with the club culture of yesteryear and a poignant yet infectious ability to be ever in the moment.

The Age newspaper called Solace "a triumphant record", writing that "Electronic music is often thought of as harsh and unlistenable, but Solace is delicate and incredibly sophisticated in its production. The lyrics hinge on one central theme of yearning, whether that be for change, company or space."

Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.

Blue Spirits was the last of trumpeter Freddie Hubbard’s 1960s studio albums for Blue Note. This bluesy and spirited offering featured five evocative Hubbard originals including “Soul Surge,” “Outer Forces,” and “Jodo,” each given a richly textured arrangement for an ensemble including four horns.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.t

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.

Mark Hawkins readies ‘Venn Diagram’ album for Aus Music this May.
Mark Hawkins’ early releases on labels such as Djax Up Beats and Ugly Funk lit flares in the world of
underground techno, with a sense of humour and tougher-than-thou sonic palette enforced via his jacking live
sets. Across the following decades, Mark has delivered razor sharp cuts that encompass pretty much
anything that has an electronic heart - leaving his own unique trail for others to follow via his work for labels
as diverse as Dixon Avenue Basement Jams, Sonic Mind, Mistress Recordings, Houndstooth and Aus.

With his latest album, it feels like Mark has pushed ahead with a change of direction he started with 2021’s
‘The New Normal’. ‘Venn Diagram’ carries on this journey into uncharted lands; molten, distorted drum
assaults weave around glistening melodies, kitchen sink soul glides below fractured sound pools. Opener
‘Verblex Oscillos’ immediately demands your attention grabbing, with a so-happy-it’s-sad melody spiralling
around a cascade of tough-as-fuck dance floor destroying beats, along with ‘Isolated’s urgent combination of
strings, acid and chicago-tough electro beats.

Other cuts on the album share a similar approach, ‘Maladayfun Friction’s restless energy derives from a fusion
of skittering drums and deranged synths and ‘Still Have Time’s dreamy super saw pads and plaintive vocal
espouse a kind of wasted elegance, roaming the city nightlife in a Gucci dress and Doc Martin boots.
‘Nlasckhdsjk’ and ‘Frederikalstublieft’ propel forward with such a sleek and effervescent aesthetic, recalling
fast drives along picturesque European highways or heady take-offs to unknown urban territories. The
aesthetic becomes more elegant on the album’s centrepoint tracks ‘Rebula Conundrum’ and ‘Nlasckhdsjk’,
where optimistic bleeps, bass and 707 drums underpin jazzy chords and soaring leads.

Other tracks show the arc of Mark’s direction of travel, with soulful vocals that share a well of deep-rooted
optimism that was so evident on his breakthrough 2016 Social Housing album. ‘L.O.V.E.’ breaks into
post-Sophie territory with a catchy modulated vocal joyfully two-stepping across to the nightclub bar and
‘How Do I Know’ providing a heart rending torch song for 6am kicking-out-time refugees to help them find
their way back home.

DEAD SEA APES are back with a passion to deliver their most essential and cohesive album to date. Formed in 2009, DEAD SEA APES have become a fixture of the psych scene, sharing stages with the likes of Part Chimp, The Heads, Acid Mother Temple and Mugstar while producing a distinctive body of work, ranging from psychedelic punk to experimental dub, from freeform jams to constructions of loops and drones. Following a slew of collaborations and split releases, REWILDING sees them return to a power trio of Brett Savage (guitar), Jack Toker (bass) and Chris Hardman (drums). From the chaotic blast of opener ‘Denialist’, beaming out like a maniacal emergency broadcast, through to the monolithic pounding of the title track, REWILDING is unrelenting, taking in blown-out guitar wails and jet black psych noise while the irrepressible rhythm section moves from claustrophobic motorik beats to a thunderous rolling juggernaut. These blackened pearls have been recast and refined over the course of the past three years, strung out deeper than the night and now embodying our present uncanny, disorienting times, as we emerge into an altered world to find Mother Nature reasserting herself while the human madness intensifies, locally and globally. Savage and uncompromising, this is DEAD SEA APES at their most direct and visceral. REWILDING is released by Cardinal Fuzz (UK/Europe) and Feeding Tube Records (USA) as an edition of 750 on black vinyl.

After the success of their debut album Too Hot To Handle, the funk/disco band Heatwave followed up with Central Heating in 1977. The album was produced by Barry Blue and was the final performance of Rod Temperton as an official member of Heatwave, who later wrote several hit singles for Michael Jackson. Central Heating features the tracks “The Groove Line”, “Mind Blowing Decisions” and “The Star Of A Story”, which remain popular tracks to this day. The latter was also sampled by A Tribe Called Quest amongst others.

F# A# ∞ was recorded at the original Hotel2Tango in spring 1997 on a rented 16-track tape deck and supplemented with various field recordings. In the preceding year, the band had taken shape as a quasi-orchestral outfit involving most of the players that would go on to make three more records and tour the world many times. This is the first recorded document of Godspeed as a large band and is soaring, fragile, awkward, heartbreaking stuff. Constellation released a vinyl-only pressing of 500 copies in August 1997, with LP jackets hand made by the label, the band, and various local artisans. It has since gone through dozens of re-presses, with virtually all of the original packaging elements preserved. The opening monologue on Side One ("Dead Flag Blues") is taken from Incomplete Movie About Jail, an unfinished film by Efrim.

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist.

Ltd coloured 2LP edition, w/ etching on side D! "I'm obsessed with late 90's Meshug- gah, early Dillinger Escape Plan, and early Cult of Luna," explains guitarist Pierre Carroz deftly about the influences behind the sound of his brainchild. Combining the sonic agility of the American math-core pioneers with the relentless ferocity of the Swedish progressive metal innovators, Herod produce a brand of heavy music that is truly face melting. Having played with le- gendary metal acts like Obituary, Napalm Death and Carcass, Herod are no strangers to the international metal scene, and it shows in the calibre of their music. Their upcom- ing third album The Iconoclast puts the full power of their artistry on display, redefining musical heaviness and atmosphere at every turn imaginable. Iconoclast sees the Swiss quintet paint with a consistent palette of groovy syncopated riff- ing, heavy breakdowns, and a diversity of vocal techniques and deliveries. Using similar col- ours and textures to create many different pictures, it's an approach that feels almost experi- mental. Like great abstract painters like Kazimir Malevich or Jackson Pollock, Herod continue to develop their technique and method throughout their oeuvre. Iconoclast is a creation of pure magnificence, combining an undeniable artistic mindset with the best of what modern metal has to offer. «The Edifice» features the incredible Matt McGachy from Canadian technical death metal legends Cryptopsy while the album closer sees the band collaborate with long-time friend Loi"c Rosetti: «The Prophecy» poses him against a most ferocious backdrop, capturing two amazing vocalists of the past and present Ocean Col- lective teaming up and facing off, since Herod's vocalist Mike Pilat was the main vocalist on The Ocean's «Precambrian» album (2007). FOR FANS OF Meshuggah, Gojira, Cult of Luna, LLNN, Vildjharta, Primitive Man, Uneven Structure

A precedent of sorts to, erm, Armand van Helden vs Fatboy Slim’s 1999 bout, ‘The Heavyweight Sound Fight’ takes pride of place among iDEAL’s hall of oddities with one of the zaniest recordings by three international leaders of the avant-garde. Double LP with an LP-sized 12-page booklet designed by Sean McCann of Recital.

Adapting all the pomp and ceremony of a boxing match to ludicrous ends - including a flier depicting each artist with their dukes up - they produced what sounds like a great night out for NYC’s experimental cognoscenti with Charlie Morrow (USA) vs Carles santos (Spain) each backed by a band - Soho Baroque Opera Company with the assistance of the New Wilderness Foundation - while Sweden’s Sten Hanson acts as referee, and Armand Schwerner takes the role of announcer in thick, nasal New York brogue. It’s brilliantly daft and subversive but accomplished in a witty way that maybe escapes too many solemnly po-faced avant-garde conceptualists nowadays, and remains a strange outlier in the history of NYC avant garde and beyond.

“Operating as an aural window into an happening that occurred more than 40 years ago, “The Heavyweight Sound Fight” unveils a different context of experimental music than is not often encountered today. Running across the album’s four sides, within all the seriousness of art and technique, is the unmistakable presence of humor, play, and the absurd. The audience can’t help but laugh and cheer as the announcer - effecting a deep New York accent and nodding toward notable attendees like Allison Knowles, Dick Higgins, and Jackson Mac Low - takes an active role in the fight, each artist delivering an array of vocalizations - from extended technique utterances to rants - against the next, with the bands weighing in and engaging in their own battles, ranging from big band dirges and marches, to outright experimental electronic madness. It’s a trully raucous affair that brings that radicalism carried by its sounds into entirely new zones.

According to Marrow, he was deemed “winner” in an “off-script” move by the judges, and Santos never spoke to him again, continuing the wild and wonderful mystery and humor of the performance into the present day. Who knows what Santos, who sadly passed away in 2017, would say.”

Robb Weir ist nie ein Mann, der das, was er hat, als selbstverständlich ansieht. Nachdem er die TYGERS OF PAN TANG seit ihrem ersten Album durch eine Reihe von Besetzungswechseln geführt hat, weiß er, dass die aktuellen Tygers wahrscheinlich die stärksten sind, seit sie an der Spitze der NWOBHM standen. Weir, der stets optimistisch war, gründete eine neue Version der Band, um sowohl das alte Material zu spielen als auch Songs zu schreiben, die diese "neuen" Tygers repräsentieren sollten. Das Rückgrat der Band - Craig Ellis am Schlagzeug und Jack Meille am Gesang - sind nun schon wesentlich länger zusammen als die ersten Tygers und wurden kürzlich durch Francesco Marras an der Gitarre und Huw Holding am Bass ergänzt.

Francesco kam über Solo- und Session-Arbeiten, die ihn zu einem gefragten Gitarristen gemacht haben, und Huw hat bereits mit
NWOBHM-Bands wie Blitzkrieg, Avenger und Holosade gearbeitet. Jetzt ist die Band bereit für die Veröffentlichung ihres neuen Albums "Bloodlines".

Das Album wurde komplett von den Musikern der aktuellen Besetzung aufgenommen und ist eine Tour de Force dessen, was die NWOBHM zu einer solch starken Kraft in der Musik machte. Die Songs, die alle aus eigener Feder stammen, zeigen erfolgreich, wie gut der Kern von Weir, Meille und Ellis mit den neuen Jungs harmoniert hat. Der neue dänische Produzent Tue Madsen (The Haunted, Moonspell, Sick Of It All) hat dem traditionellen Tygers-Sound eine zeitgemäße Note verliehen und sich sofort mit der Band angefreundet, da er genau erkannt hat, wonach sie gesucht hat.
Der melodische Gesang und die vorbildlichen Gitarrensoli sorgen dafür, dass die Songs mit den besten Songs aus ihrem Backkatalog mithalten können.

Robb Weir ist nie ein Mann, der das, was er hat, als selbstverständlich ansieht. Nachdem er die TYGERS OF PAN TANG seit ihrem ersten Album durch eine Reihe von Besetzungswechseln geführt hat, weiß er, dass die aktuellen Tygers wahrscheinlich die stärksten sind, seit sie an der Spitze der NWOBHM standen. Weir, der stets optimistisch war, gründete eine neue Version der Band, um sowohl das alte Material zu spielen als auch Songs zu schreiben, die diese "neuen" Tygers repräsentieren sollten. Das Rückgrat der Band - Craig Ellis am Schlagzeug und Jack Meille am Gesang - sind nun schon wesentlich länger zusammen als die ersten Tygers und wurden kürzlich durch Francesco Marras an der Gitarre und Huw Holding am Bass ergänzt.

Francesco kam über Solo- und Session-Arbeiten, die ihn zu einem gefragten Gitarristen gemacht haben, und Huw hat bereits mit
NWOBHM-Bands wie Blitzkrieg, Avenger und Holosade gearbeitet. Jetzt ist die Band bereit für die Veröffentlichung ihres neuen Albums "Bloodlines".

Das Album wurde komplett von den Musikern der aktuellen Besetzung aufgenommen und ist eine Tour de Force dessen, was die NWOBHM zu einer solch starken Kraft in der Musik machte. Die Songs, die alle aus eigener Feder stammen, zeigen erfolgreich, wie gut der Kern von Weir, Meille und Ellis mit den neuen Jungs harmoniert hat. Der neue dänische Produzent Tue Madsen (The Haunted, Moonspell, Sick Of It All) hat dem traditionellen Tygers-Sound eine zeitgemäße Note verliehen und sich sofort mit der Band angefreundet, da er genau erkannt hat, wonach sie gesucht hat.
Der melodische Gesang und die vorbildlichen Gitarrensoli sorgen dafür, dass die Songs mit den besten Songs aus ihrem Backkatalog mithalten können.

On his third Blue Note album pianist McCoy Tyner assembled a quartet with vibraphonist Bobby Hutcherson, bassist Herbie Lewis & drummer Freddie Waits for an album rich in ethereal textures that delivers visceral performances of three expansive Tyner originals and three radically reinvented standards.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Taylor Swift’s new studio album Midnights is available everywhere on October 21st. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.

Each Vinyl Album Includes:

- Unique marbled color vinyl disc
- 13 Songs
- Collectible album jacket with unique front and back cover art
- Unique marbled color vinyl disc
- Collectible album sleeve (each side features a different full-size photo of Taylor)
- Full-size gatefold photo
- A collectible 8-page lyric booklet with never-before-seen photos

In the Detmold area (Westphalia, Germany), there wasn‘t much going on for metal fans in the first half of the eighties. Fortunately, the members of two bands met in 1982 in a chip shop and recognized their common preference for hard music by their long hair, leather jackets and moustaches, which were good manners at that time. In this moment SACRAFICE were born, who subsequently became local heroes - of course influenced by the NWOBHM that was just spilling over into Germany, but also by the usual suspects like Black Sabbath, Deep Purple, Rainbow or Kiss, as well as Judas Priest and the early Accept.

Two unusual choices were made at once: In the spirit of Def Leppard or Led Zeppelin, the band name was deliberately changed - i.e. NOT Sacrifice, but Sacrafice. And they decided not to make the typical demo tape, but a 12“ EP on their own. This one is called „The First Experience WIth The Unknown“ and can be bought here and now on Discogs for 120 Euro and more used.... But already the book „Heavy Metal Made In Germany“, which was published in the nineties via Iron Pages, lists the record as „Top German Metal Rarity“.
No wonder, because the quite aggressive heavy rock and metal knows how to please even today - or maybe especially today - and reminds us of the upbeat mood of the German metal scene in the first
half of the eighties. This is also true for the three live tracks, which have been elaborately restored in days of work.

Another house number are the tracks of the follow-up band TranQuilL
(that‘s right, that‘s the correct spelling). The mostly overlong songs can be classified as heavy prog. Due to various circumstances these pearls remained (as good as) unreleased. Again, a lot of time and work was invested in restoring and mastering these private studio recordings (there are six long TranQuill songs on the CD version, while there was only room for two tracks on the LP, without losing sound quality).
As always, the printed inlay contains liner notes (actual interview with a former band member). Photos and other illustrations.
The CD version of the Golden Core re-release has already received very good reviews in Rock Hard and Good Times, among others!

Stanley Turrentine’s 1964 recording Mr. Natural featured the soulful tenor saxophonist and Blue Note stalwart at the helm of a cutting-edge modern jazz group with Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, Elvin Jones on drums, and Ray Barretto on congas for three songs.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Shannon, and veteran electronic producer and remixer producer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio).

First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020.

Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close…

Available digitally, and on limited vinyl LP in a reverse-board jacket. We’ve also pressed up a special edition with an additional bonus 7”, featuring covers of songs by US minimal synth oddball John Bender,and Australian industrial mavericks SeveredHeads. The special edition LP and 7” are on pink-vinyl LP + green-vinyl-7”, and strictly limited to 200 copies. Both versions include a Bandcamp download card inside.