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The band emerged in the late 70s punk scene in Glasgow and released a handful of singles in the 80s but not a debut album until 2014. This highly anticipated follow up is a must have for fans for unique, honest rock n roll. It's a truthful, painful and raw document of The Lonewolves at the height of their powers

James Devane returns with another adept investigation into minimal techno’s spaces in between. “Searching” serves as both companion to “Beauty is Useless” and the next logical step in James’ exploration of process as guiding compositional tool. Conceptually simple, technically robust, the end result elicits both an undeniable groove and a trove of detail for listeners willing to go deep. In his own words: “These recordings are the result of chance. Using hours of source material, everything was “chosen”, manipulated, and assembled at random via custom software without concern for key, tempo, measures, or rhythm. A search button and a save button.”

José James - the forward-looking, genre-defying Jazz singer for the hip-hop generation - has done it again. “1978” (his 12th studio album since 2008’s “The Dreamer'') announces an instant classic, combining James’ deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware. Produced by James and featuring an all-star ensemble including Grammy nominees Pedrito Martinez (Camilla Cabello, Eric Clapton), Marcus Machado (Daniel Ceasar, Pharoahe Monch), Jharis Yokley (Sleigh Bells, My Brightest Diamond) Chad Selph (Bilal, FREELANCE) and David Ginyard (Solange, Blood Orange), “1978” pulsates with the socially conscious feel-good vibes of Marvin Gaye, Prince and Stevie Wonder. James also skillfully explores the boundaries of Black music, featuring Brazilian rising star and recent Latin Grammy nominee Xênia França as well as Congolese-Belgian rapper/filmmaker Baloji.

The artist Dennis Busch (James Din A4, Joyride, Pop Dylan, Pastor Fitzner, etc.) returns after over 12 years of electronic abstinence under his pseudonym James Din A4 with his new album Ins Licht (Into the light) on David Rauer's label Blubbernugget.

Hedonistic dissociative techno tracks meet twisted, light-drenched house anthems and are gently, yet brutally transformed into a multi-dimensional state of pure euphoria in dream-like sequences and abstractions. Here you can dance like nobody is watching and at the same time put your innerspace time travel on autopilot. This is a record as energetic as a Hi-Frequency crystal. It's 2024. Welcome to the age of I AM.

Musik & Artwork: Dennis Busch
Master & Cut: Loop-O

After a killer streak of releases with the likes of Real Bad Man, Nicholas Craven and Futurewave, extremely prolific Detroit legend on the rise Boldy James is closing up 2022 with "Be That As It May", collaboration full-length with Roman beat maker Cuns. Featuring guest appearances by Lord Apex, Bo Skeet, Taj Mahal and Darnell Williams, the two crafted a gorgeous album, with Boldy tapping into his Mary Poppins bag of lyricism for yet another full-length album of captivating bars.

James’ longevity – with over 25 million albums sold over their 42-year career and their celebrated reunion period since 2007 earning them more Top 20 album placings and faster ticket sales than their whirlwind initial run from 1982 to 2001 - is miraculous itself, but with simple cause. James, you see, are more than a band; they’re sonic belongingYummy – the band’s 18th studio album – is a quintessential James record: comforting yet adventurous, electronic yet human, dark yet life-affirming, experimental yet familiar, heart-warming yet deeply introspective on both the personal and human scale. “This record is really uplifting and joyful, but a lot of that comes from the music,” says singer Tim Booth of a career-high album that confronts ageism, conspiracy theory, AI control, the mental health pandemic, ecological apocalypse, mortality and modern love in all its shades. “Some of the lyrics are pretty hard-nosed.” UK Arena tour with special guests Razorlight in June 2024. 'Yummy' has already received 4/5 in MOJO, 4.5/5 in Classic Pop Magazine and 7/10 in Uncut

After a few months spent on planet Earth, taking inspiration from its best dancefloors, Antam Records is ready to serve you some tasty grooves served by the Madrid based producer Mostly James... Get ready for the intergalactic ride!

Superb 45 featuring two Hammond-led instrumentals! We caught up with Mr Guy Hamper for an insightful Q&A_ Q: What a cracking single this is! 'Instrument of Evil' in particular has a very eerie vibe. What was the inspiration for it? A: The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP with Thee Headcoats standing in as rhythm section. A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible: "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. Phew! Q: The track features contributions from Tom Morley (trumpet) and Anna Jordanous (sax). What's it like working with them? A: They are great and easy to work with. I basically make a playground and let them loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "You're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Q: On the flip side you have 'Incense Rising From a Censer'. A very evocative title for an evocative track. Do you have lyrics in mind for this for a possible later release? A: No lyrics have sprung to mind as yet - but it's always possible. The title is from The Elders observation in Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. Q: This single marks your first time in the new premises of Jim Riley's Ranscombe Studio. What's the new place like? A: The studio is great - the sound - using my old Mighty Caesars drum kit, and Jim engineering, is pure, easy with a better sound than the old premises. Q: Any more Guy Hamper Trio releases in the pipeline? A third album perhaps? A: Again, anything is possible. Me and Jamie (James Taylor, Hammond organ) have talked of writing together in the future. Jamie is a truly great musician - the cherry on the cake if you will. We're just busted old eggs, sour milk, and some gunk. Q: A live Guy Hamper Trio show would be amazing. Any chance of that happening or will it remain a studio-based project? A: It could happen if someone came up with a very cunning plan.

The duo's third album of instrumental guitar recordings pushes their sinuous compositions into labyrinthine new shapes, interlocking and interlocutory, supported by a cast of stellar collaborators. Interwoven among the dazzling original pieces is a fascinating array of covers, ranging from traditional Breton dance tunes to a deconstruction of Neneh Cherry's "Buffalo Stance." Their melody-first sensibilities are perfectly suited to each other _ playfully complex guitar work that sounds as if it was tossed off in an afternoon of whiskey and laughs. - NPR An intoxicating, intricate web _ Wherever Salsburg and Elkington go, it's always a pleasure. - Aquarium Drunkard Sounds like winter has always been approaching, like Indian summer never quite fades, like fall isn't built around loss. - Stereogum

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

After making the rounds as a digital “test press”, and getting support from some pretty heavy hitters, Super Badman Riddim finally gets its vinyl release! Double A goes full house mode, with tribal drums, a cheeky soul sample flip, and some big badman vocals. Heavy descending sub puts the icing on this cake. This one’s been killing it on dance floors for a while now, so grab it while you can! Side AA / James Nasty / Fan Dem Off A seasoned Baltimore Club veteran, we’re thrilled to welcome James Nasty to the Mountain 45s family. Although this previously circulated as a digital-only gem, this is a 7” vinyl debut for this banger. You don’t see much (any?) B-More on 7” so it’s also a bit of a unicorn. Big Dancehall vocal flip, absolutely banging uptempo drums, and a killer buildup makes for some sure shot dance floor ammo. Don’t snooze!

The latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece "Fallaway Whisk" explores hesitation in its many forms_reticence of speech, sonic restraint_using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, "Quire" is a work in ten movements influenced by the composer's study of late medieval repertoire on portative organ, weaving the instrument's woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry. Rushford's work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as "electro-acoustic experimentation with a beating heart" (Boomkat) and "haunted Jacobean ASMR" (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to New Age, Rushford's work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford's solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou's 1959-67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).

My art investigates the rich area of resonance and I engage in dialogue influenced by past works, current concerns and new directions. Works attempt to immerse the senses bringing to the fore natural phenomenon. I believe that sound can heal and that the conscious investigation of harmonic tunings, acoustic resonance as well as social relationships can yield powerful experiences. One of my objectives as an artist is to expose natural phenomena. I am interested in the physical aspects of sound and have developed a sensibility that focuses heavily on Resonance. Vibration is at the core of my experience of Resonance. I am moved by natural resonances that exist around us all. My own work strives to develop and nurture Resonances by negotiating sensitive relationships among a number of what I identify as critical ingredients for psychedelic phenomena: resonant bodies exciting harmonic energy creating diverse waves, beating and phase patterns diffused spatially with full dynamic range and a deep attention to the body and how it engages with the environment.

Australian DJ and producer James Mac joins forces with France based Vall for their Afro House rework of Aaliyah’s 2001 hit ‘Try Again’. This follows their debut hit single together 'The Boy Is Mine' which remained the #7 highest selling record on Beatport overall for 3 months. The vinyl includes official remixes from house music legend David Penn, French producer Holseek and Sydney based DJ/Producer on the rise Ben Miller, as well as the Sasson Remix of ‘The Boy Is Mine’.

James Hudson is a captivating and charming performer who has a natural affinity with an audience. His outstanding voice can communicate the nuances of a melody and lyric with great interpretive prowess which undoubtedly sets him apart as a jazz singer at the top of his game.

James Hudson's upcoming second album 'Moonray' is a bold and ambitious project that features a unique ensemble including horns, vibraphone and strings to create a rare and accomplished sound. This follows his debut album 'Tomorrow', which attracted international media coverage and exceptional reviews from many top jazz publications (BBC Music Magazine, London Jazz News, Jazzwise, JazzViews), plus air-time across national radio stations where it was named 'Album of the Week' by Jazz FM.

Having recently sold out his first show at the world- renowned Ronnie Scott's, James is in demand at many of the UK's most respected jazz clubs. Regularly performing to sell- out crowds at Pizza Express Jazz Club Soho, Crazy Coqs, Piano Smithfield, Peggy's Skylight, and Hull Truck Theatre, he has appeared at the EFG London Jazz Festival, Leeds Jazz Festival, and Wigan International Jazz Festival. James is sought after by some of the top big bands and orchestras in the industry whom he has guested with all over the world.

James has taken great inspiration from the likes of Mel Torme, Frank Sinatra, Nat King Cole, and Sarah Vaughan which when combined with his passion for jazz standards has inspired him to establish his own voice and unique style, which is captured in his music and live performances.

Suffolk-based singer songwriter James Varda’s fourth and final album before his death from a long battle with cancer in 2015, Chance And Time, set for a vinyl only reissue on Unspun Heroes is an astonishing aural document of a creative, forward -thinking musician coming to terms with a life slowly evaporating away. There is hubris, melancholy and an undeniable weight of sadness in these ten songs but, miraculously, there is also a stoic realisation and acceptance from Varda that is both heart-wrenching and deeply affecting. On Chance And Time Varda reconnects the human spirit to the land, a heavy, fearful heart to an optimistic soul, and in a beautiful poetic flourish gives a real tangible sense of loving and hope to his family and friends offering genuine reassurance and even, at times, a green light for celebration.

Carrying a certain air of mystique, that same sense of a ‘other worldliness’ if you will of say a Karen Dalton or a Jeff Buckley, Varda’s delivery and tone carries huge emotional weight here and an unique ability to add an honest perspective and warmth to the starkest of realities. The hard hitting impact of the opening tracks is blunt and sharply defined. There is pain, hardship, and fear wrapped in these tales - ‘The Doctor Spoke, Two Hearts Broke” - made all the more hitting as this is a real life journey in the here and now being catalogued. As we move towards the second half of the record there is something even deeper and truly incredible at play. Varda’s whole demeanor is one of understanding and acceptance - hear the celebratory shamanic vibe of the extraordinary ‘Pass It On’ and the poignantly reflective, chokingly sad finale ‘We Won’t Dream’ - bringing to an end a record that will leave a mark on everyone who hears it. Real art is both timeless and omnipresent, these songs from James Varda will hang in the air forever and be there for those who look to find understanding, joy and a sense of hope. Chance And Time is both an extraordinary record and poignant study of life and living, of death and what comes after.

James Varda released four albums between 1988 and his death in 2015. A fledgling career beginning on the singer-songwriting folk scene where his arrival was met with both curiosity and critical acclaim as was his debut, the John Leckie produced Hunger. Any momentum was lost however as it would be ten years before the next, In The Valley was met with a ruffle of applause. Cancer took hold of the troubadour and for a number of years Varda lived life and wrote songs until The River And The Stars appeared like a phoenix from the flames as he began to wrestle with the realities of his situation. It’s a record that beautifully lays the ground for this his masterpiece that was to follow.

Unspun Heroes, a new label set up by Simon White, has the sole purpose of finding and reissuing albums that he considers both undervalued and seemingly ignored.  All releases will be on vinyl only complete with Obi strip and extensive liner notes. Each will be individually numbered and limited.

Transcendental energetic transportation device.

Re-mastered / re-mix of a track that appeared on OGR787 (Floyd James & The GTs “Keep Lifting Me Higher EP”. There’s also an extended version on the B-Side.

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release.

Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us SJ543 “(The Girl In) Clinton Park” and SJ544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

Complete Album + 6 Bonus Tracks. Known as the "King of the Slide Guitar," Elmore James was the most influential slide guitarist of the postwar period. His music went far beyond his premature death in 1963 at the age of forty-five. He was credited with helping to invent blues rock and his style influenced a generation of blues-rock players like Eric Clapton, Peter Green, Duane Allman, and The Rolling Stones. Blues After Hourswas James' debut album, and one of the greatest blues albums of all-time. "Blues After Hours, originally released on LP by Crown in 1960, was Elmore James' first long- playing record. The crunchy garage sound of James' arrangements coupled with his passionate edgy vocals, quickly made him one of the most influential blues artists of his time." - AllMusic, 4.5 STARS

Best remembered for his partnership with the rapper Will Smith in the duo DJ Jazzy Jeff & the Fresh Prince, the duo won the first rap Grammy as well as scoring some big pop hits back in the day, including their 1987 smash, "A Touch Of Jazz," which famously sampled Bob James' classic track "Westchester Lady."

In a full circle moment, James and Jeff have joined forces on the tune "That Bop," a thumping dance track overlain with elegant piano hooks. "It was fun to work with him so many years after he had sampled me in the past," says James, who reveals they collaborated by sharing music files across the internet during the pandemic.

"We also did a couple of other tunes that may see the light of day soon," discloses James, who is keen to work with the hip- hop legend again. "I hope the next time we'll actually be in the studio at the same time so that we can interact," he says. The B-side features Bob James' original jazz-funk classic and DJ favorite, "Shamboozie", available for the first time on 7" vinyl.

Released by evosound on a 7" Vinyl Single on the 6th of October, 2023. Limited Edition of 1,200 copies worldwide.

Mit dem smoothen Groover "Fall For You" und dem eindringlichen Funker "Viper Flames" auf der Flip gibt der Brite James Alexander Bright seinen Soloeinstand bei Athens Of The North - ein Vorbote seines Mitte 2024 erwarteten, dritten Albums. Zuvor veröffentlichte Bright zwei Alben auf !K7 Records, zwei Kollabo-LPs mit den Flying Mojito Bros und Tom Findlay (Groove Armada), Mixsets für BBC 6Music sowie einen Beitrag für die "Too Slow To Disco"-Serie.

2LP im Gatefold-Sleeve. 100% recyceltes & zufällig gefärbtes Re-Vinyl. Kommt mit neuem Artwork. "Black Screen Records, Videocult, Akapura Games und Komponist James Primate freuen sich darauf, euch erneut bei der akustischen Reise durch die seltsame "Rain World" zu begleiten. Nachdem der Soundtrack jahrelang ausverkauft war, wird er nun endlich neu aufgelegt. Dieses Mal auf 100% recyceltem & random-coloured "Re-Vinyl". Die Musik stammt von Videocult-Level-Designer und Komponist James Primate - mit Unterstützung von Lydia Esrig (die andere Hälfte des Chiptune-Duos BRIGHTMATE) und Rain World-Schöpfer Joar Jakobsson.Die Platte erscheint in einem Gatefold-Sleeve mit atemberaubenden Artwork von Allegra "Del" Northern. Zusätzlich enthalten ist ein 12" Kunstdruck mit weiteren Illustrationen von Del.

First album in seven years from Maple Death Records founder James Jonathan Clancy (Italy/Canada), and the first under his birth name following previous ensembles His Clancyness (Fat Cat, Maple Death) and Brutal Birthday (Total Punk, Improved Sequence). In the interim between those projects and this latest, ‘Sprecato’, Clancy has refined and honed his vision —steadily and carefully drawing from a host of disparate influences to create a new kind of singer-songwriter album that bridges the divide between cosmic loner-folk, proto-ambient music, and the epic, intricately arranged world of vintage Italian soundtrack music. For ‘Sprecato’, Clancy has assembled a transnational cast of renowned guest collaborators; including Stefano Pilia (co-producer/guitar/modular/synths/bass), Andrea Belfi (drums), Enrico Gabrielli (flutes, PJ Harvey/Calibro 35), Francesca Bono (piano, Bono/Burattini) —while the core of the band features Dominique Vaccaro (guitars, J.H. Guraj), Andrea De Franco (synths, Fera) and Kyle Knapp (sax, Cindy Lee/Deliluh).

Written and recorded between London & Bologna, the initial spark for the album was to be found in the book length work ‘Gli Sprecati’ (Canicola Edizioni), by visionary Italian comic’s artist Michelangelo Setola, who ultimately provided Clancy with the graphics

that grace the album’s cover and overall visual sensibility. Something of Setola’s near apocalyptic pastoralism runs through the record, even as Clancy’s themes grow beyond the seed they’d originally planted. Drum machines that sound as if they’ve been excavated from the earth meet detuned pianos and guitars; bucolic traces of synths stretched beyond all reckoning. While the band is both loping and epic —with shades of Pentangle’s Terry Cox in the live drumming in particular —there’s a new emotional depth and

Das Innenumschlag-Artwork enthält die vollständigen Liedtexte des Albums. Die erste Auflage der Schallplatte enthält ein limitiertes A3-Poster mit einem besonderen Risographen-Druck. "BITTER SWEET LOVE" zeigt James von seiner besten Seite und bietet dreizehn atemberaubende Songs voller Emotion. Nachdem er wieder auf der Bühne stand, wurde ihm klar, wie sein fünftes Album klingen sollte. Die Menge sang zu seinen Hits mit und tauchte in die Emotionen ein, die James in seiner eigenen Stimme hören konnte. Der aus Middlesbrough stammende und vor kurzem Brit Billion-Award zertifizierte Künstler, kann auf eine Jahrzehnte lang umfassende Karriere zurückblicken. Darunter 4 Studioalben, 16 Milliarden verkaufte Tonträger und unzählige ausverkaufte Konzerte an einigen der legendärsten Veranstaltungsorten weltweit

To mark the 35th Anniversary of Acid Jazz, we have been reissuing seminal records from our catalogue on colour vinyl. The final instalment - and the second James Taylor Quartet release in the series - is this this version of ‘Mission Impossible’ is pressed on a fitting red vinyl.

The original release track-listing showcases JTQ’s sixties soundtrack odyssey – driving organ instrumentals from the beginnings of Acid Jazz, showing James and the original lineup in their prime. Alongside Lalo Schifrin’s iconic title track appear tracks by Herbie Hancock, Paul Simon and Bacharach & David, before the Taylor-penned original ‘The Stooge’ closes out this lean, hip collection.

Repress!

Proto-house classic 'Nightgruv' gets a re-release and includes a longer unreleased edit!
James Mason is mostly known for his late 70's album 'Rhythm Of Life', which is a soul-jazz classic. Soon after music trends shifted to (electronic) disco and James' music became out of fashion, leaving 'Rhythm Of Life' to be the only album he released to date. The early early 80s saw him have a few studio sessions from which more electronic output like Wuf Ticket's 'The Key (Prelude Records) resulted. James also produced various disco acts like Disco 3, Earl Flint and Brenda Bayton.

James Ray kickstarted his career as a teenager in 1959 after he left Washington DC for New York, but debut single ‘Make Her Mine’ flopped. Two years later, songwriter Rudy Clark discovered Ray and got him signed to the Caprice label, the resultant ‘If You Gotta Make A Fool Of Somebody’ a top-30 hit that the Beatles covered in early live sets. Ray’s self-titled debut album had that hit and the equally appealing follow-up, ‘Itty Bitty Pieces,’ as well as ‘I’ve Got My Mind Set On You,’ later successfully covered by George Harrison. An overdose would tragically cut short Ray’s career, this sole LP a testament to his enduring talent.

Feiern Sie mit uns den 50. Jahrestag des legendären Albums ”Weihnachten & James Last”! Dieser Longplayer war in den 70er- und 80er-Jahren ein beliebter Weihnachtsklassiker, von dem seit seiner ursprünglichen Veröffentlichung weltweit über eine halbe Million Exemplare verkauft wurden. Um diesen besonderen Meilenstein zu feiern, wird dieser mit Gold ausgezeichnete Klassiker erstmals in festlich rotem Vinyl in einer streng limitierten Auflage wiederveröffentlicht.

James Last, geboren als Hans Last, war ein deutscher Komponist, Arrangeur und Orchesterleiter. Er wurde am 17. April 1929 in Bremen, Deutschland, geboren und verstarb am 9. Juni 2015 in Florida, Vereinigte Staaten. Last war bekannt für seinen einzigartigen Musikstil, der als Easy Listening bezeichnet wird, und wird auch heute noch oft als Vater des ”Happy Sound” bezeichnet.

Große Erfolge feierte er mit seinem eigenen Orchester, das für seine Größe und die ausgeprägte Partyatmosphäre bei seinen Live-Auftritten bekannt war. 1973 veröffentlichte James Last ”Weihnachten & James Last“. Das Album enthält eine Sammlung von beliebten Weihnachtsliedern, die Last in seinem eigenen Stil arrangiert und vorgetragen hat. Das Album enthält unter anderem auch traditionelle Weihnachtslieder wie ”Stille Nacht” und ”Ave Maria”.

Me Neither is a 29 track double album of instrumental guitar music. While juggling a number of other projects James Elkington began writing "music for which there was no purpose." It became a new way of working for him - waking up each morning and improvising and recording the first thing that came into his head. "The only rules I gave myself were that I should make most of the sounds with a guitar, changing the speed or processing the recordings afterwards to get the effect I was looking for." Before long he had an albums worth of material. About mid-way through the second album Elkington had a liberating thought: he was making his own version of library music "if you're writing library music, you don't have to know what it's for - that can be someone else's job."