quête:jack michael

The Fabulous Counts were originally a teenage instrumental group of five musicians, Mose Davis (Organ and Piano), Demetrius ‘Demo’ Gates (Alto Saxophone and vocals), Jim White (Tenor Sax), Andrew T. Gibson (Drums) and Raoul Keith Mangrum (Percussion and Flute) who were later joined by the older, more experience Leroy Emanuel (Guitar and vocals). Emmanuel was invited into the group as it’s band leader by the groups manager Fred McClure, a former Detroit boxing champion who also happened to be the manager of another popular Detroit group the singing Metro’s of the hit recording “Sweetest One” fame and their subsequent respected RCA album of the same name. The Fabulous Counts would often perform at shows as the Metro’s backing band.

The Fabulous Counts first big break came after knocking several Detroit Record labels doors. They were eventually invited in by Ollie McLaughlin’s Moira studio to record, under the tutelage of Popcorn Wylie the one take hit “Jan, Jan (Moira-103). A further two Moira 45’s followed of which “Get Down People/Lunar Funk “(Moira-108) also scored high on the R&B charts. Through a deal arranged by McLaughlin The Counts released their respected “Jan, Jan” album on the Atlantic distributed Cotillion label in 1969. Moving on to Armen Boladian’s Westbound label, during 1970 the group simply changed their name to The Counts and charted with their 1971 “What’s Up Front” Westbound album, also releasing a solitary 45 “Thinking Single/Why Not Start All Over Again”. In 1972 while still part of the Westbound set up The Counts recorded two major label 45’s under the pseudonyms of Bad Smoke “Crawl Ya’ll Part 1&2” (Chess-2124) and Lunar Funk “Mr Penguin Part 1&2” (Bell 45-172), the latter being thier biggest hit. A subsequent move to Atlanta, GA saw The Counts sign with Michael Thevis’s Aware records where they recorded a further two successful albums “Love Sign” (1973) and “Funk Pump” (1975), plus a string of 45’s. In 1976 although officially never breaking up The Counts members went their separate ways to explore different life opportunity’s.



During 1978 and while still in Atlanta Leroy Emanuel borrowed money from his family and reuniting with his fellow Counts, Mose, Demo, and Jimmy Jackson Jr, they, accompanied by a local strings section recorded a session of material that spawned two songs “What’s It All About” and “Motorcity”. Which Leroy later made a deal with Terry Mendelson to release on a 45 on his TM label. The Counts had previously known Mendelson through his brother Bernie at Westbound. The TM 45 made very little noise with many of the copies having mispressed labels. Although later reissued and mistakenly credited as two previously unissued Westbound recordings on several latter Cd compilations it came to light that quite a few avid European soul collectors actually owned copies of this high quality, very elusive and desirable 45! With demand still seemingly high it seems a good time for Soul Junction to reissue it. The A-side, “What’s It All About” features its composer Leroy Emanuel on lead vocals with the other Counts adding to the backing chorus. The flipside of this 45 from the same session is the previously unreleased Mose Davis penned “Watch The Clock” which is more in keeping with the Counts traditional funk groove, enjoy.

Siedah Garrett's seminal 1985 classic 'Do You Want It Right Now' receives 3 new incredible remixes from Dr Packer, BluePrint and Jolyon Petch.

Dr Packer delivers a truly funk-worthy re-work injecting a barrage of the smoothest soul-laced sonics for an early 90s house meets nu disco cut.

Jolyon Petch ramps up the funk with infectious guitar licks and groove-laden bass for his 'Elektrik Disko Mix’.

Burgeoning British producer and Stress Records artist BluePrint drops a rolling progressive house / melodic techno hedonistic dancefloor cut, re-working the classic with absolute finesse with sleek piano work floating euphorically around the iconic lyrics.

Most famous for her song writing credits on Michael Jackson's 'Man in The Mirror', as well as a duet on Jackson's 'I Just Can't Stop Loving You' and 'Don't Look Any Further' with Dennis Edwards, it's no surprise that Siedah Garrett's long career has cemented her as one the most iconic names from the 80's. 'Do You Want It Right Now' which featured in the 1985 movie 'Fast Forward' has been sampled over the years by the likes of Armand Van Helden and covered by Degrees of Motion and this iconic anthem is still considered as one of the game changers during the pivot into the 'Freestyle' movement during the 80's.

DJ Support across the mixes from Danny Howard, Mark Knight, Breakbot, Rudimental, Claptone, Jamie Jones, Sam Divine, Oliver Heldens, Riva Starr, Alaia & Gallo, Judge Jules, Mousse T, Joachim Garraud, Kevin McKay, Russell / Freemasons, Paco Osuna, Oliver Dollar.

Already renowned for a ball-tearing live show, The Sniffers
made their international debut as one of the hottest tipped
acts at The Great Escape in 2018. Soon afterwards, they
signed deals with both Rough Trade Records and ATO
Records, made a massively hyped appearance at SXSW,
and finally released their self-titled debut album in 2019,
landing them an ARIA (Australian Recording Industry
Association) Award for Best Rock Album, capping off a wild
year for the lunatic, likeable punks.
Late in 2020, Amyl and The Sniffers went into the studio with
producer Dan Luscombe to record their sophomore album,
‘Comfort To Me’. Written over a long year of lockdown, the
album was influenced by and expanded on a heavier pool of
references - old-school rock’n’roll (AC/DC, Rose Tattoo,
Motörhead and Wendy O Williams), modern hardcore
(Warthog and Power Trip) and the steady homeland heroes
(Coloured Balls and Cosmic Psychos).
Lyrically, the album was influenced by Taylor’s rap idols and
countless garage bands and, in her words, “I had all this
energy inside of me and nowhere to put it, because I couldn’t
perform, and it had a hectic effect on my brain. My brain
evolved and warped and my way of thinking about the world
completely changed.”
Seventeen songs were recorded in the ‘Comfort To Me’
sessions and the top thirteen made the cut. They were mixed
long distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah
Yeahs) and mastered by Bernie Grundman (Michael
Jackson, Prince, Dr Dre).
‘Comfort To Me’ demonstrates the same irrepressible smarts,
integrity and fearless candour as their debut but, as you’d
expect of any young band five years on, their sound has
evolved - in Amy’s words, it’s “raw self-expression, defiant
energy and unapologetic vulnerability.”

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. If one were asked to pick an album that represented the best of British jazz in the 1960s, Le Déjeuner Sur l’Herbe by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Southern Avenue Announces New Album, ‘Be The Love You Want’. Out August 27 via Renew Records/BMG, produced by Multi-Grammy Winner Steve Berlin

(Memphis, TN) – Memphis soul powerhouse Southern Avenue has announced the release of their third full-length album. BE THE LOVE YOU WANT was produced by multi-GRAMMY® winner, Steve Berlin (Los Lobos, Deer Tick, Susan Tedeschi, Jackie Greene), and co-produced by Ori Naftaly. The album, arriving via Renew Records/BMG on August 27, 2021, is preceded by today’s release of the sultry first single, “Push Now,” available at all DSPs and streaming services.
BE THE LOVE YOU WANT is Southern Avenue’s most ingenious and personal effort thus far. Since their inception, the band has produced a wide-ranging collection of original music – predominantly co-written by Israeli-born guitarist Ori Naftaly and powerhouse lead vocalist Tierinii Jackson – that links them to their home city’s glorious past while at the same time, demonstrates their ambitious intent to evolve Memphis music to contemporary effect.

BE THE LOVE YOU WANT sees Southern Avenue teaming up with artists like multi-GRAMMY® award-winning pop superstar Jason Mraz and certified Platinum producer Michael Goldwasser from Easy Star All-Stars on “Move Into The Light” for a churning, funk-blasted burner. Besides writing with him on the first single, the band also collaborated with Cody Dickinson from North Mississippi Allstars for the song “Heathen Hearts.” The songwriting core grew within the band as well, as drummer Tikyra Jackson and bassist Evan Sarver collaborated to co-write “Let’s Get It Together” and “Pressure.”

The band brilliantly bridges the power of Memphis soul with jamband liberation, gospel blues, and R&B to craft their own timeless brand of American music. The ambitious sonic approach expertly complements BE THE LOVE YOU WANT’s rich themes of self-love, self-empowerment, personal accountability and the desire to push through towards something greater in life.

Thalia Zedek is an artist of immutable stature and
unceasing vitality. The legendary songwriter’s fiery voice
and frank lyricism give her songs emotional potency and
stark beauty. Zedek is able to distill complex events into
simple, clear and, at times, monumentally weighty
moments with a singular grace. Through ballads or bluster,
Zedek imbues her music with unguarded honesty. ‘Perfect
Vision’ examines the anxiety and pain of rising divisions
between people both physical and ideological. Zedek
transmutes fervour and resilience into sobering laments,
while her lush arrangements wrap the listener in an often
complex emotional message.
‘Perfect Vision’ follows the 2018 ‘Fighting Season’, created
in the midst of growing tensions across the US. On
‘Fighting Season’ Zedek sought resistance, where on
‘Perfect Vision’ she searches for clarity during a time of
exponential isolation and doubt. Every challenge and
sadness Zedek forces us to see is met in equal measure
by her defiant guitar and dissenting voice, a torch
illuminating a path for the listener to navigate through the
darkness.
Features Winston Braman, Gavin McCarthy (E, Karate)
and guests Brian Carpenter (Beat Circus, Ghost Train
Orchestra), Alison Chesley (Helen Money), David Michael
Curry (Boxhead Ensemble, Dinosaur Annex Music
Ensemble, Willard Grant Conspiracy), Mel Lederman
(Victory at Sea) and Karen Sarkisian.
CD in gatefold packaging with lyrics. LP in full colour jacket
and inner sleeve with lyrics. Vinyl packaged with digital
download card.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

• “Choctaw Ridge” explores a new country sound, one that emerged at the end of the 60s in the wake of Bobbie Gentry’s ‘Ode To Billie Joe’, a shock number one hit in 1967. When singers like Gentry, Jimmy Webb, Michael Nesmith and Lee Hazlewood moved from the south to Los Angeles to make it in the music business, they were not part of the Nashville in-crowd and they forged a new direction.

• ‘Ode To Billie Joe’ was the tip of the iceberg, and its success helped a bunch of singers and storytellers to emerge over the next three or four years. Some of the tracks on this collection bear that song’s stamp more clearly than others: Sammi Smith’s moody ‘Saunders’ Ferry Lane’ had a similar mystery lyric, and Henson Cargill’s ‘Four Shades Of Love’ is a portmanteau, with one (or possibly two) of the theoretically romantic situations ending in death.

• Suddenly, character sketches of southerners became a lot more rounded – women didn’t have to stay home, or take abuse at the office, and darkness wasn’t only found at the bottom of a bottle. Storytelling is the link between all of the songs on this collection. We have cautionary tales about what could happen to someone who heads for the bright lights and doesn’t make it, ending up in the grasping hands of ‘Mr Walker’ (Billie Joe Spears), or on the ‘Back Side Of Dallas’ (Jeannie C Reilly), or on a mortuary slab in the case of the songwriter with the ‘Fabulous Body And Smile’ (Robert Charles Griggs). And there are stories about wanting to go home – Nat Stuckey’s ‘What Am I Doing In LA?’ and Charlie Rich’s ‘Feel Like Going Home’ – and others from Ed Bruce and Lee Hazlewood, who know that their home isn’t home anymore.

• The tracklist and fulsome sleeve notes have been put together by Bob Stanley (Saint Etienne) and Martin Green (Smashing, The Sound Gallery), who have been collecting these records for decades.

• The voices are resonant and relatable, and the productions take in the best of what pop had to offer in the late 60s and early 70s. Before the factionalism between smooth pop-conscious Nashville and the hedonistic ‘outlaws’ made it look inward again, this was a golden era for an atmospheric, inclusive and progressive country music. It began on the third of June, another sleepy, dusty Delta day.

Kim Wilde became an overnight sensation back in 1981 courtesy of the worldwide success of her single ‘Kids In America’, which offered a very British twist on the new wave energy and glamour of Blondie. In due course, Kim would enjoy numerous hits throughout the 1980s, first on RAK Records (with help from father Marty and brother Ricky) and then later on MCA (when she took up songwriting herself and toured with Michael Jackson and David Bowie).

Marta Gabriel is known as the front woman of heavy metal power force CRYSTAL VIPER, who recently released a brand new studio album, „The Cult”. Except that she’s a seasoned session musician, and either was a a guest on albums, or appeared on stage with acts as VADER, MANILLA ROAD, JACK STARR’S BURNING STARR, MAJESTY and WITCH CROSS. Technically, ”Metal Queens” is her first solo album, although it’s a very unusual release. „Metal Queens” is a celebration and tribute to female singers and female fronted heavy metal acts of the ‘80s. The original Metal Queens !. LINE UP: Marta Gabriel - lead and backing vocals, bass guitar Eric Juris - lead, rhythm and acoustic guitars, choirs Cederick Forsberg – drums and percussion, choirs SPECIAL GUESTS: John Gallagher (RAVEN) – bass guitar on ”My Angel” Harry Conklin (JAG PANZER) – vocals ”on «Light In The Dark” Todd Michael Hall (RIOT V) – vocals on ”Call Of The Wild”

Tape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch's tape collection which he recorded while growing up in Islington, North London, it's also an untold (or more accurately unheard) history of UK underground music of the last 10 years - Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

We're back with our 5th release! This time it's the certified dancefloor weapon by Alonzo Turner ‘Whoever Said It?’ Released on a 7 inch with a part 1 & 2, this record has been played on dancefloors worldwide by such players as Rahaan, Sadar Bahar and more, with those selectors favouring the part 2 in the most euphoric moments with that incredible vocal half way through. The record has remained hard to come by for most so we are thrilled to have this one out there as an affordable and great sounding reissue.

Remastered as always by Frank at The Carvery and this time released with a vibrant company sleeve and a baby yellow label on the 7 to match the original.

"Alonzo Turner was born in Northern California in 1955 and was introduced to music by his church, of which his father was pastor. As a young adult, Turner moves to West Hollywood and at 23, he starts to manage a local rock band while working day and night to write what will turn out to be his first and only release, ‘Whoever Said It’.

The song catches the attention of Dave Crawford, A former producer at Atlantic. Like most stuff on Crawford’s label, LA Records, the single never makes it to the charts but helps Turner make a name for himself in L.A. and Orange County where he performs often. There is only speculation about what happened to ‘You’ve Got Something’, the LP on which the song was meant to appear, but five years later Alonzo ends up writing an eponymous piece for Norma Lewis (Shakatak, Charade) on her debut album ‘It’s Gonna Happen’.

In 1984, struggling to make ends meet from his music career, Turner takes a part time job at a record store, while also pushing garments to an elite clientele in Beverly Hills, even selling clothes to one of Michael Jackson’s designers. In 1991, aged 38, Alonzo Turner will pass away from illness.

Written by a loner who lived in a modest flat filled with antiques and expensive art pieces, ‘Whoever Said It’ is a testament to the idea that love does exist beyond our imagination. While asking who is to blame for spreading the opposite theory, Turner makes this simple yet compelling argument to debunk it: emotions are a motor of action, they literally set us in motion and therefore reality derives its very momentum from them."

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices.

Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for!

Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

After numerous successes across nearly every notable MC/DJ battle of the late 90's and early 00's, followed by their poignant debut, First Born (2001), and the innovative follow-up, E&A (2004), Eyedea & Abilities expanded upon their reputation for multi-dimensional lyricism and production, establishing the duo as a progressive and integral part of the underground hip-hop sound. In 2009, they re-emerged with rap-punk vocals, gutted guitar riffs, and synthesized drum beats on By The Throat, their final studio release before Eyedea's untimely passing in 2010. Together, the experimental and philosophical rapper Eyedea, synchronizing with the precision and ingenuity of producer/turntablist Abilities, curated a raw form of escapism that still resonates ten years later. While a song like "Spin


Cycle" delicately unravels the barriers of human intimacy, “Smile” immerses us into the horrors of poverty and hardships, and our society's obliviousness to them. In each track, Abilities compliments Eyedea’s fluctuating patterns by maintaining ranges from each

side of the spectrum, ensuring their advanced creation still stands as a testament of their dedication to the craft. Now, the long out-of-print vinyl is being reissued for the 10 year anniversary on a custom formulated watercolor swirl vinyl, wrapped art paper jacket of original watercolor artwork by Michael Gaughan with film lamination finish, full color printed record sleeve, insert with full album lyrics and free download card.

Hailing from Sunderland in England’s industrial northeast, the Toy Dolls infused their take
on punk with ample doses of working-class humour, the three-chord format a launching pad
for witty originals and clever cover tunes. 1983 debut Dig That Groove Baby captures the
group at their finest, their twisted rendition of kiddies tune “Nellie The Elephant” topping the
indie charts; the title track is an infectious singalong, while “Spiders In The Dressing Room”
and “Glenda And The Test Tube Baby” are more irreverent tongue in cheek, all delivered in
the peculiar androgynous accent of frontman Michael “Olga” Algar. Essential!

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
6x platinum-selling album includes "New Sensation," "Never Tear Us Apart," "Devil Inside," and the No. 1 hit "Need You Tonight"
180-gram 45 RPM double LP release
Mastered by Ryan K. Smith from an EQ'd tape copy
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation," "Never Tear Us Apart," "Devil Inside" and "Need You Tonight," — which reached the top of the U.S. Billboard singles charts.

Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together."

Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.

Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savour: Mastered directly from an EQ'd tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

‘‘I am not as other detectives!’
Presently in triple gatefold vinyl for the very first time, Dirk Gently – The Long Dark Tea-Time of the Soul sees Harry Enfield return as the singular detective in this full-cast BBC radio dramatisation of the novel by Douglas Adams. First broadcast on Radio 4 in 2008, these fantastically entertaining comedy sci-fi dramas are adapted and directed by Dirk Maggs, acclaimed for his dramatisations of The Hitchhiker’s Guide to the Galaxy, Good Omens, Neverwhere and many others.
When Dirk Gently’s long-suffering secretary, Janice, resigns to work in an airport, it’s the beginning of a very strange adventure for both of them. The detective takes to reading palms whilst dressed as an old gypsy woman, but meanwhile the ancient Norse God Odin has fallen into the hands of an unscrupulous advertising executive (and her husband). Bring on Odin’s son, Thor, a godlike curse that turns Janice into a vending machine, and countless other interconnected things…
Starring Harry Enfield as Dirk Gently and Olivia Colman as Janice, with Billy Boyd as Richard MacDuff, Laurel Lefkow as Kate Schechter, Stephen Moore as Odin, John Fortune as Dr Standish, Philip Jackson as the Vagrant, Jan Ravens as Cynthia Draycott and Peter Davison as Simon Draycott, with a guest cast including Rupert Degas, Morwenna Banks, Sally Grace, Jon Glover, Michael Fenton Stevens and Susan Sheridan, and music by Philip Pope. Adapted by Dirk Maggs and John Langdon from the novel of the same name by Douglas Adams. Directed by Dirk Maggs.
Three 140g coloured vinyl discs – in Holistic Red, Yellow and Blue - are presented in an illustratedc triple gatefold sleeve, with an exclusive sleeve note by Dirk Maggs.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

2025 Repress

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Progress showcases Afrika 70 doing what they do best: digging deep and bringing the force, but always with
remarkable restraint and swagger, propelled by Tony’s steady hands and feet. The title track, “Progress” starts with a bang and never loses steam - a performance so fierce that it stands alongside Fela’s most
powerful anthems. The second track, “Afro Disco Beat” shows Tony Allen at one of his creative peaks. He tells: “What I was saying on Progress was that instead of fighting Fela for money, I was trying to progress and create on my own. Progress is what a hard worker is looking for I had to look it for myself” (Taken from Tony’s autobiography by Michael Veal). Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

BEATCONDUCTOR strips down the STEVIE WONDER’s “SUPERSTITIOUS” to the core of moogbass & vocals. PHIL COLLINS’ “I’M NOT MOVIN” gets a Balearic rework with new rhythms and MICHAEL JACKSON’s “ROCK WITH YOU” gets the vocals stripped out to make “DUB WITH YOU". Hand stamped limited 12″.

Timeless Legend are Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio.

Their music is among the most elusive on the rare funk/soul scene with “I Was Born To Love You” a huge crossover club anthem and with ‘timeless’ appeal.

The ‘Synchronised’ album from 1980 is iconic and one of the rarest ‘rare grooves’ and original copies currently sell for over £1,000 a copy. There will only be 1000 copies of this numbered reissue

Originally conceived by Danish beat maker KVBeats for his critically acclaimed debut producer album ""The Résumé"" (SoulSpazm 2010), the blazing Slum Village track ""We Do It"" featuring Elzhi & T3 gets officially remixed by legendary DJ Spinna and UK's own Jazz Spastiks for this limited edition 45 release. DJ Spinna has been a staple for the underground scene; handling highly praised remixes for Mary J. Blige, Michael Jackson, De La Soul, and Stevie Wonder. He collaborated with an array of lyrical giants such as Eminem, Talib Kweli, Pharaohe Monch, Mos Def, and many more throughout his career. This time the Brooklyn producer lends his signature spaced-out, genre crossing boom bap feel to the A-side of this 45, instantly taking the listener back to the great late 90's indie era. On the B-side, the Jazz Spastiks place their typical jazzy flavored sound behind this highly lyrical Slum Village track. The UK based production duo have released quality boom bap projects on a string throughout the last few years as well as re-introducing indie icon Godfather Don to the hip-hop scene in 2018 with a smashing album and two brand new singles. Both remixes are a sure treat for any 90's hip-hop follower.

Exclusively- Remastered 180 Gram, Audiophile Vinyl Pressing!

At last, another chance to get a classic soul masterpiece on 7” vinyl, even if you can score an original copy for about £800.

Timeless Legend were Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio. Their music is among the most elusive on the rare funk/soul scene with the 7” of “I Was Born To Love You” a huge crossover club. Few have actually ever set eyes on this album either, and those who own one have paid £2,000 for the privilege.

180g

Council Work returns with the next installment of their journey, this time with the Militant EP. Two original tracks from the label bosses Frankel & Harper, and keeping in theme with the previous releases, obtaining remixes from their favourite artists in the scene, they've enlisted 2 big remixers, this time from Salty Nuts boss and Cocoon regular Fabe, and Orbital London head honcho and rising UK star Jack Michael. The EP sticks to the signature Council Work sound, showcasing underground UK flavours with lots of garage and jungle influences, whilst showcasing more minimal and breaks textures and vibes

Founded in 1972, SteepleChase Records is one of the most significant and prolific European jazz record labels. With a catalogue running to well over 200 titles, the Copenhagen-based imprint has recorded and released music from some of the greatest names in jazz, including Dexter Gordon, Andrew Hill, Jackie McLean, Horace Parlan, Chet Baker and Stan Getz.

Starting out by recording visiting Americans when they performed at the legendary Café Montmartre, founder Nils Winther was encouraged to start the label by none other than the great Jackie McLean, who was the first artist to release a record on the new imprint. From there, Steeplechase rapidly grew into one of the foremost labels to document European jazz with all its distinctive originality and style.

With a particular emphasis on recording front rank American artists who had chosen the expatriate life in Europe, Steeplechase was first in line to document the sounds of the greats as they developed in exile. Featuring in-demand tracks from the likes of Billy Gault, Johnny Dyani and Khan Jamal, and unearthing deep cuts from greats like Jackie McLean and Mary Lou Williams, our Spiritual Jazz 11: Steeplechase pays tribute to one of Europe's most important jazz labels.

Here it is! Our debut release. This is just the start of our journey and sculptured on to this record is what you can expect to hear from our releases. The VA is a perfect collaboration of artists with each track complementing the next and capturing the Sub:Conscious ethos through the medium of groovy dubby sounds.

Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late ’70s Wallis was a “control agent” for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists’ first LP ‘A Dissembly’ was released in 1982 followed by ‘Psykho Genetika’ in 1983 and ‘Black December’ in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI’s ‘Conspiracy International One’.

In 1985, Glenn spent a week at Chris and Cosey’s studio recording 11 tracks that would become the ’Glennascaul’ album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. ‘Glennascaul’ is proto electro at its very best, with Glenn’s hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states “No guitars. No Fairlights.” For this deluxe reissue we’ve added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

Featuring Sly & Robbie, Alpha Blondy, Marcia Griffiths, Horace Andy, Morgan Heritage, Gregory Isaacs, Inna De Yard, Alton Ellis, Ken Boothe, Jimmy Riley, and many more.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.