Cerca:jo di

* This release resurrects the original mixes alongside the iconic remixes from the '90s, encapsulating a significant chapter in the Jungle movement. This landmark release not only signifies a pivotal era in Jungle music but also marks the inaugural release on Philly Blunt Records, setting a high bar for the label right from the outset.

* In the early '90s, the jungle scene was set ablaze with 'Burial', a track crafted in Dillinja's home studio under the collaborative genius of Jumpin Jack Frost, operating under the moniker Leviticus. The original mixes, Madamoselle and Lovers Rock, resonated with rare groove and reggae influences that propelled the track to become an anthem at the Notting Hill Carnival, eventually catching the ear of Pete Tong who facilitated a mainstream release on FFRR the following year.

* The remixes encapsulate the collaborative spirit of the era, with Dillinja, Roni Size, and DJ Krust teaming up for the 'Combination Mix', and Ray Keith lending his touch to the 'Tearing Terrorist Mix'. Released in the '90s post the FFRR signing, these remixes added a fresh narrative to the 'Burial' story.

* Reflecting on the creation of 'Burial', Jumpin Jack Frost recalls, "I went to Dillinja's house with the two records, and that was it. We got a beat running and sampled the Mademoiselle "oooh" part first... it just made itself. I was the producer and Dillinja was the engineer... After hearing it a hundred times while we were making it, I thought it was good but I didn't quite know if it was good enough to start playing to the boys. First of all, I made a dubplate with my name in it so I could test it playing it out; I think I played it at Roast and everyone went nuts."

* Bryan Gee, reflecting on the track's impact, mentions, "If you're talking top ten jungle tracks then 'Burial' has got to be in there. You can play it to anyone outside of the jungle scene and they know it."

* This gold vinyl repress is a journey back to the roots of Jungle, offering a tangible piece of Drum & Bass history for enthusiasts and new listeners alike. The profound impact of 'Burial' transcended the Jungle scene, finding resonance across various music genres and remains a testament to the genre's versatility and broad appeal.

* A nostalgic journey and a tangible piece of Drum & Bass history, pre-order now to secure your copy of this genre defining release

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

Paice Ashton Lord hatten einen kurzen, aber dafür spektakulären Moment in der Geschichte des Rock'n'Roll.

Es gab großes Getöse in der Musikpresse als Drummer Ian Paice und Organist Jon Lord nach der unschönen Auflösung von Deep Purple eine neue Band zusammen mit Tony Ashton (Vocals, Keyboards) aufmachte.

Ein Album, einen verpatzten TV Auftritt, eine Tour und ein nie vollendetes zweites Album später endete die Geschichte von PAL im Jahre 1978 auch schon wieder. Eine Geschichte, die es wert ist, noch einmal zelebriert zu werden.

Mit einer Fusion aus Rock mit Big Band Swing, Blues und Funk bietet »Malice In Wonderland« treibenden Feel Good Rock vom Feinsten.

Repress!

Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.

A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.

For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.

The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.


• Highly sought-after underground Japanese rock rarity, originally released in 1972.

• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.

• Available as the original LP in Box version & Tip-on Sleeve with OBI version.

Der Modern Roots Classic ist wieder als Original US-LP Vinyl erhältlich! Der Longplayer wurde 1997 von Robert "Digital B" Dixon produziert und von Barry O'Hare, Benjy Myres, Bongo Herman, Dalton Browne, Dean Frazer, 'Dish', Donald Dennis, Ernie Wilks, Jazzwad, Melbourne Miller, Paul Crossdale, Paul Henton, Robbie Shakespeare, Ronald "Nambo" Robinson, 'Saxie' und Sly Dunbar eingespielt, die Backing Vocals übernahmen Dalton Browne and Marie Gittens. Als Riddims kamen u.a. diverse Klassiker von Coxone Dodd/Studio One Label, und/oder von Black Uhuru und The Abyssinians zum Einsatz: "Stars", "Drum Song", "Queen Of The Minstrel", "Leaving To Zion", "Satta", "He Prayed".

Der Hamburger Maestro Erobique, bekannt für Improvisationsgeist und unwiderstehliche Disco-Hymnen, besuchte Schlagzeuger/Produzent Max Weissenfeldt in dessen Joy Sound Studios in Ghana. Zusammen mit Philophon-Künstlerin Florence Adooni kreierte er dort den swingenden Ohrwurm 'Mam Tola', den sie in ihrer Muttersprache Frafra singt, ein Paradebeispiel für Afro-Soul. Auf 'Bach In Afrika' wandelt Erobique einen deepen Drum'n'Bass-Jam im Kumasi-Stil in eine frenetische Barockzeremonie um, indem er die Hammond 'Extra Voice' meisterhaft J.S. Bach-like bedient.

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

Mit „Stadtmusikant“ erscheint Björn Heusers elftes
Studioalbum mit zwölf Songs, in denen der kölsche
Singer/Songwriter ein weiteres Mal beweist, dass kölsche
Musik nicht immer mit Karnevalsmusik gleichzusetzen ist.
Rockig und mit Tiefgang, melancholisch-kölsch und immer mit
Charme. Heuser, der in seiner Heimat Köln regelmäßig in der
Lanxessarena und im RheinenergieStadion tausende
Menschen zum Singen bringt, präsentiert sich mit diesem
Album einmal mehr als Liedermacher, der auch was zu sagen
hat. Egal, ob das Wahrzeichen „Colonius“ besungen wird, er
ganz romantisch „Satt vür Jlöck“ ist oder auf „De jeilste Johre
“ zurückblickt: Heuser ist kölsch, authentisch und echt.

If I Could Only Remember My Name was the debut solo record from David Crosby. Recorded in 1970 after the passing of his girlfriend Christine and released in February of 1971, the album explores themes including loss and disorientation. The album features a who's who of contributors from the San Francisco Bay area including Paul Kantner and Grace Slick of Jefferson Airplane, Jerry Garcia of the Grateful Dead, and Santana, and his cohort from Los Angeles including Graham Nash, Neil Young, and Joni Mitchell.

The album has attained a cult status throughout the last 50 years, hailed for its spooky, psychedelic, and truly unique sounds.

AllMusic gave the album 4.5 stars, with reviewer Stanton Swihart writing: "With his ringing, velvety voice — the epitome of hippie crooning — and inspired songwriting, he turns If I Could Only Remember My Name into a one-shot wonder of dreamy but ominous California ambience."

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

After the immense success of ""Sofa Kings EP"", Royel Otis announce their debut album, Pratts & Pain. Produced by Grammy Award winner Dan Carey, the album was meticulously crafted in the cozy confines of South London's Pratts & Payne pub. The duo frequently sought refuge there to finish lyrics, and help bring forward the album's direction.

Pratts & Pain stands as a testament to Royel Otis' musical evolution, nurtured by trust and camaraderie. Musically, the album seamlessly fuses indie and psychedelia, inviting fans on an enchanting journey, celebrating spontaneity.

At its core, Royel Otis remains steadfast in their bond, as Royel puts it, ""We revel in each other's company and creative synergy. Trusting Otis's instincts and actions is second nature, and I wholeheartedly support them. When you support one another, greatness emerges.

All-Analogue Vinyl LP for the First Time in Almost 50 Years!
Mastered by Bernie Grundman from a 1-to-1 Flat Transfer of the Original Analogue Master Tapes!

Pressed on RTI's HQ-180 for the First Time Ever!

Deluxe "reversed" tip-on jacket that faithfully reproduces the original with highest-grade materials
Exclusive full-colour insert with new historical and production notes by Charles L. Granata and photos from the Sony Music Archives



This next all-analogue, HQ-180 gram LP is an impeccably performed and stunningly recorded late-period gem from The Titan of modern violinists. The Lark revisits works that helped define Heifetz in various points of his illustrious career and which highlight his crisp attacks, imaginative phrasings, and mellifluous sustained notes.

The repertoire is intriguing, combining two iconic pieces (Tomaso Antonio Vitali's Chaconne in g minor for Violin and Continuo, written in the Baroque period; and Gabriel Fauré's Violin Sonata No. 1 in A Major, Op. 13, written in the late-Romantic period) with Mario Castelnuovo-Tedesco's The Lark: Poem for Violin and Piano (a 20th-century modern tone poem). Although nearly two-hundred years separate their composition, these pieces complement each other beautifully: a testament to the discerning judgment of Heifetz and producer John (Jack) Pfeiffer, who helped create his albums.*

The LP was cut by Bernie Grundman from a straight 1-to-1 copy of the original session masters, meticulously created by Andreas Meyer at Swan Studios NYC. No digital processing of any kind was used. The original reverse-tip-on-style jacket and a brand new 4-page insert split the difference between the authentic, nostalgic feel of a mint original and a reissue's value proposition you've come to expect from Impex Records.

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Soul Jazz Records’ new 10th anniversary edition of their long-out-of-print Punk 45: There Is No Such Thing As Society. This is a one-off limited-edition heavyweight specialedition cyan coloured vinyl pressing + download code. The album charts the rise of underground punk and post-punk in the UK from 1977-81. This album is fully remastered and relicensed and includes five new tracks from 23 Skidoo, Notsensibles, Pretty Boy Floyd, The Astronauts and The Impossible Dreamers.


The album is a collection of seminal, classic, obscure and rare punk and post-punk singles from the likes of The Mekons, Johnny Moped, The Killjoys, The Rings and many more which all chart the rise of independent music and Do It Yourself culture that exploded in the wake of punk and during the years of Britain under Margaret Thatcher. The album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork and is newly available as a limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes plus download.

Solos, Sessions & Encores is an album by Stevie Ray Vaughan, released in 2023. Solos, Sessions & Encores includes a.o. the following tracks: “The Sky Is Crying(live)(srv With Albert King, B.B. King And”, “Don't Stop By The Creek, Son (johnny Copeland With Srv)”, “Albert's Shuffle (live) (srv With Albert Collins)”, “Change It (live) (srv With Jimmy Vaughan)” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

Soul Jazz Records’ feature-length documentary/CD/Book ‘Studio One Story’ is being re-released on 1 August 2011, and is also available for the first time as a stand alone DVD. The DVD is being issued as a prelude to the forthcoming deluxe-hardback book ‘Original Cover Art of Studio One Records’ released this autumn by Soul Jazz Records as well as a new Studio One album compilation on Soul Jazz to coincide with the new book.

Studio One Story is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. ‘Studio One Story’ was filmed in 2002, two years before the death of the legendary Clement ‘Sir Coxsone’ Dodd, a man famously reticent of being interviewed - until the making of this film. Described by Chris Blackwell as the Motown of Jamaica, or ‘The University of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley and the Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few! Studio One is the ‘foundation’ label of Jamaican Reggae and Clement ‘Sir Coxsone’ Dodd is seen by many as its father.

One and a half years in the making, Studio One Story is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how he and the many artists and musicians at Studio One literally shaped the rise of Reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s.

The 4 hour documentary (including over an hour of extras) was filmed on location in Kingston, Jamaica and features interviews with Horace Andy, Alton Ellis, Ken Boothe, Sugar Minott, Denis Alcapone, The Ethiopians, Sylvan Morris, Johnny Moore, Lone Ranger, King Stitt and many others. The DVD also includes rare footage of The Skatalites, Jackie Mittoo, Count Ossie, Marcia Griffiths and others. As well as the stand-alone DVD, Soul Jazz Records are reissuing the original (DVD +CD+Book) original box set.

IF YOU ARE ORDERING THIS PLEASE CHECK IF YOU NEED NTSC (AMERICA, JAPAN, ETC) OR PAL (EUROPE, AUSTRALIA, ETC).
THE DVD HAS FRENCH AND ENGLISH SUBTITLES.

NB.MP3 Release is for the audio CD only.

REVIEWS ‘Studio One was Jamaica’s Motown. This documentary brings it brilliantly to life.’ The Telegraph ‘The history of Clement ‘Coxsone’ Dodd’s legendary Jamaica studio is fantastically told through interviews, copious amounts of music and historical footage and more.’ Uncut ‘Studio One Story is no mere historical document; it is a map that will lead you directly to a massive seam, endlessly mineable, of musical gold’ The Observer ‘A fascinating documentary’ The Telegraph ‘Compulsive viewing for anyone with an interest in Reggae’ The Wire

Warehouse find!

Three major players from the now multi-generational broken beat scene: Henry Wu, Dego (2000black) and IG Culture have assembled for an irresistible late summer bruk-samba trip.Brazilian rhythms have always been foundational influences on the broken-beat and future jazz movements, and this EP continues to explore these connections, a running theme throughout Far Out's 23 year history with Seiji, Mark Pritchard, Afronaught, Domu, Da Lata and Jazzanova being just a few of the names to have contributed to this particular avenue of the label's pantheon of dance music.The joyful samba-soul in the title track of Sabrina Malheiros' latest album features the bass and keys of Brazilian Jazz-funk legends Azymuth, and is inspired by the quest for clarity in the face of difficult times, Clareia in Sabrina's own words means to clear, light, brighten or illuminate'. But this remix EP beautifully ruptures the 'clarity' in style, each crafting the breezy Brazilian beats into their own distinct brand of future-thinking club-funk... these beats were made to be broken!

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.

Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.

Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.

On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.

Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.

Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.

Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.

Chicago hip-hop outfit Angry Blackmen made up of Quentin Branch & Brian Warren (ABM) have been stretching their arms and tapping into different sounds since they smashed onto the scene with their debut single “OK!” in 2017. A prime introduction starring two emcees showing they deserve to wield the microphone and do so with good cause. Then barely a month later ABM released sophomore single ‘Riot!’ a complete shift in sound that still housed the foundation set in ‘OK!’ A few years later the duo would drop their debut project ‘Talkshit!’ which saw them amass the following they have today.
‘The Legend of ABM’ immediately smacks the listener in the eardrum leaving no second wasted and jumping straight to the point. The 11-track adventure truly presents an expression of hip-hop that we haven’t seen before, infusing multiple sounds with the 50-year old genre. To go even deeper, Quentin Branch & Brian Warren are teaching a masterclass in top-notch poetic lyricism, creating both accessible and mind-bending music. “Stanley Kubrick” has both heroes shattering the beat with their braggadocio for what is just the appetizer to prepare the listener for what’s to come in the next ten tracks. ‘Sabotage’ tells the story of two Black men hustling through the trenches of capitalism and the effect that this journey has on them. While the album exudes catchy wordplay and spine-splitting production, if you lift up the hood, ABM is spinning a tale of depression, existentialism and self-reflection that isn’t always pretty. “Dead Men Tell No Lies” is another mutation in sound for the duo, where the industrial sounds clash, violently yet perfectly together with a blistering hook harkening to the end of time. Warren & Branch’s raw poetry educates the listener of the pre-apocalyptic world we’re already living in throughout this project. ‘The Legend of ABM’ is not an excursion for the weak, the production is meant to snap your spine in half, the lyrics from Quentin & Brian are pathos-infused and relatable to anyone simply trying to survive.

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

Autumn 1904 is a post-punk indie-rock band formed in 1982 in Edinburgh, Scotland by Allan Dumbreck (keyboards) and Ross Thom (guitar). The band originally became a five-piece (Billy Bowie – bass, Keith Falconer – drums, Billy Leslie – vocals) but grew to a seven piece in early 1983 (taking on two female backing vocalists, Indira Sharma and Lisa Cameron). Autumn 1904 were part of the DIY indie-rock movement in Edinburgh in the early to mid 1980’s kicked off by The Shop Assistants, they worked alongside The Wild Indians, Finitribe (originally Gallery Macabre) and Goodbye Mr MacKenzie, often performing together or attending each other’s shows.

In February 1984 the band performed at the John Peel Roadshow at Edinburgh University and afterwards were invited to record a BBC Radio 1 session which was broadcast three times on the Peel show. They were immediately courted by 11 major record and publishing companies. In March 1984 their song “I heard Catherine Sing” featured on the Deadbeat magazine compilation album “Deadbeat 1”. Internal tensions and health issues over the summer of 1984 held up development and caused Sharma and Cameron to leave the band.

The band first split in January 1985 with Thom, Bowie and Falconer going on to form The Crows with former members of First Priority, including future Glasgow Cathouse / Garage promoter Donald McLeod MBE. Dumbreck and Leslie reformed the band and performed throughout 1985 sometimes including Shirley Manson, then working with Goodbye Mr MacKenzie and later with Garbage. This line-up lasted until November 1985 when the band split again. Dumbreck went on to work with Scottish groups The Big Dish, Horse and Thrum. Later working extensively in music education setting up the music department at UWS where Jim Prime (Deacon Blue) and Paul McGeechan (Love and Money) became lecturing staff.

The line-up at the time of the Peel session was Dumbreck, Thom, Bowie, Falconer, Leslie and backing vocalists Indira Sharma and Lisa Cameron.

In May 2021, the original five members agreed to re-master / re-record the original material from their studio recordings for release. Work began with producer Liam McCluskey (Gun, King King, Twin Atlantic). Approaching Ian Smith in 2022 at independent record label Last Night from Glasgow for advice, he offered to release the album on the label. The final masters include Tippi from label-mates The Hedrons on vocals and a number of fresh recordings of material written in 1982-83 but never previously recorded.

Kick starting 2024 with intent, Berlin’s Pure Hate Trax starts the year in style with a pure power 4 track EP by Tripped. Hailing from Belgium, Francis Jaques started his journey at the tender age of 15 and quickly become A key figure in the underground rave & hardcore scene and up to now has celebrated over two decades of relentless dedication to the industry. While deeply rooted in Hardcore Techno, Tripped style is not limited to a certain genre. Always staying true to his gut, he keeps innovating his sound by using both analog and digital techniques, often with a wink to the pure and raw sound of the 90’s, dark, moody and kick-drum heavy. His label Madback Records, an outlet for his own productions has also seen contributions from the likes of Slave To Society, The Outside Agency, KRTM, Waldhaus, Mickey Nox and Umwelt. Aside from the music he also creates abstract paintings and mixes graphic design to showcase a truly unique collaboration of both artwork and music. As a DJ Francis is considered one of the most diverse acts from Belgium. His raw and powerful sets range from Rave, Techno, Industrial, Acid to Gabber and Old School Terror has seen him perform all over the world and at major events such as Thunderdome, Masters Of Hardcore, Tomorrowland, Bangface, Defqon.1, Kompass Klub, Dominator, Astropolis, Decibel and many more.

7” vinyl single w/ colour sleeve. For Fans Of Garage Punk, Power Pop, New Wave, Cheap Trick, Dollyrots, Pretenders, Go-Gos, Kate Bush, The Muffs, The Bangles, Larkin Poe. Josie Cotton’s Kitten Robot label issues their first 45 rpm 7”, and it’s a split between two of the label’s fave ladies: Josie her own bad self and Hayley and the Crushers. Josie’s song is the title track of her latest full-length, the Crushers issue a rowdy Iggy Pop cover that is also their latest digital single, releasing on Halloween of this year. Said Thoughts Words Actions of Day of the Gun, “The result is Josie Cotton’s signature sound, both timeless and contemporary, showcasing her ability to stay true to the roots while also pushing the envelope in new directions. Day Of The Gun is a masterclass in musical creativity and musicianship where Josie Cotton’s experience, talent, and ideas have come together to create an album that is both diverse and cohesive.” Meanwhile, Faster and Louder had this to say about Hayley’s recent LP. “Modern Adult Kicks makes it sound like Hayley and the Crushers have fast-forwarded ten years since 2020. This album doesn’t wallow in misery, but it confronts some heavy stuff...all the while reminding us to keep dancing no matter what happens

A cycle of songs about dead dogs. Dealing with loss, grief and loneliness, they recount the tales of lost dogs both real, metaphoric and mythic, and use our relationship with and treatment of dogs as a measure of our humanity.

Collaborating as The Unattached on this record are Joad R Wren, sister Gwenifer Raymond, uncle Neil White, and daughter Celia, along with friends Darren Hayman, Ian Button, John McGrath and Holly Rogers.

Joad notes: "The album was written and recorded during the height of the pandemic. I've no idea why it's taken so long to release it. I do know that it's a great pleasure to work – even at a distance – with such talented musicians, with many amazing albums in their back catalogues."

The final song was a surprise – especially to Joad – as Neil wrote it years ago about a forgotten dog, and it fitted beautifully as a coda here.

The songs are at once lush, sensitive, bleak and unflinching - there's a similar feeling to something like Lou Reed's 'Berlin', or the darker moments of Roy Harper. The LP comes in a numbered, hand-printed linocut sleeve with a 20 page booklet of lyrics and art.

The sleeve is a bit special. The oil-based ink used on this hand-printed sleeve may feel sticky to touch, and can potentially transfer to other surfaces. Please handle and store this record carefully.

It's an edition of 100, and because of the hand-printing process each cover is imperfectly unique and uniquely imperfect (and hand numbered).

Das Debütalbum der irischen Post-Punk Newcomer.
"Madra" (was auf Irisch "Hund" bedeutet) ist ein
gitarrenlastiges, instinktgeleitetes Album, auf dem sich die
irischen NewDad auf eine Reise der Selbsterkundung,
Selbstsabotage und Reflexion begeben. Durchtränkt von
Dysfunktion sucht "Madra" Trost im Schmerz und setzt
sich mit Themen wie Mobbing,
Selbstmedikation/Depression, Zerstörung, Co-Abhängigkeit
und Widerstand auseinander. Geschrieben in ihrer
Heimatstadt Galway, Irland, fanden die Aufnahmen des
Albums in den legendären Rockfield Studios (Black
Sabbath, Queen) in London statt, wo die Band inzwischen
auch wohnt. Julie Dawson, Cara Joshi und Fiachra
Parslow gründeten ihre Band, um bei der
Musik-Abschlussprüfung der Secondary School nicht solo
antreten zu müssen; kurz darauf stieß Sean O'Dowd
dazu, erst nur als Toningenieur, bald aber festes
Bandmitglied. Ihren Bandnamen NewDad ließen sie von
einem Zufallsgenerator erzeugen, und ein weiterer Zufall
kam ins Spiel, als kurz nach der Bandgründung Anfang
2020 die Welt plötzlich fast zum Stillstand kam. Trotzdem
schafften es die vier, im März 2021 ihre Debüt-EP
"Waves? zu veröffentlichen und im Januar 2022 den
Nachfolger "Banshee?. NewDad erinnern uns an die
Rastlosigkeit, all die Ängste und Beziehungsprobleme, mit
denen wir alle im Laufe unseres Lebens konfrontiert
werden. Sie verschmelzen Fantasie und Autobiografie mit
Einflüssen aus dem modernen Kino und Fernsehen - und
der ruhigen Küstenlandschaft von Galway, die den
Hintergrund ihrer prägenden Jahre bildet.

Seven Davis Jr. returns with a new album fresh after releasing the virtual reality infused clubby "Iss Good" EP on Classic Music Company. This album contains a fusion of R&B Hip Hop / Trip Hop / Deep & Soulful House songs. Inspired by the 90s sound and energy with appearances from John Cale, Luke Solomon, Ivan Dorn, Life On Planets, Jon Dixon and more.

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

_

KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

“Music gives us a place to be lost. Washing away thought, place, time and identity. It’s in the falling into the river, the dream, that we find just who we could be”.

Classically trained cellist, composer and storyteller Lihla (Lih-Qun Wong) presents her debut album, ‘Socha’ for A Strangely Isolated Place. Combining a vast instrumental skillset of piano, cello, electronics and spoken word, she crafts intensely immersive aural-hallucinatory worlds of intricately shifting landscapes.

A deeply personal work, Socha explores the ‘diaspora of time and space, and why we all feel so displaced.' Piano chapters capture the meeting place between memory and longing, while explorational vocal and cello textures invoke and echo the ancient, the feminine, and the otherworldly.

Lihla’s voice guides us, weaving through electronics and field recordings of the ‘real-world' to set the path for a poetic and deeply haunting journey through the internal psyche that is truly transportive and escapist.

‘Socha’ will be available on transparent smoke 12” and digital.

Available on vinyl LP & CD (with extra tracks). Robin Way has been making psychedelic music for decades under the name Oak Acetator. Mostly home recorded, Oak Acetator’s world of sound encompasses an intoxicating mix of psychedelia, punk, space rock and pop, with the emphasis strongly on hallucinogenic psych. ‘Power Trip’ is Robin’s seventh album, his previous six coming out on the hallowed Dig The Fuzz label, though strangely, none of his work appears on Discogs! Robin wrote, produced and played everything on ‘Power Trip’ in his Folkestone attic studio, and it is a work of crazed brilliance. Respected musician and writer Louis Wiggett summed it up succinctly when he said of Power Trip ‘Oh, that bonkers genius from Folkestone, can’t get enough of it. So good, almost sounds like a cosmic Stooges with synths and deadpan humour. Love it!’ And he’s absolutely right. Robin exudes his unique, very British style from the first moment to the last, sounding at times like Johnny Rotten backed by Hawkwind, but with touches of Gong and Krautrock thrown in for good measure, but really just like himself. It’s a total joy to be able to put this deranged masterpiece out on Blue Matter. We adore it, and we hope you will too

7A Records is proud to present Davy Jones "The Bell Records Story". A lavish reissue of Davy Jones' self-titled album remastered with 6 bonus tracks. The CD version comes with a big 36 page colour booklet, extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures. This reissue gives fans the opportunity to reassess an album that was unfairly neglected by record buyers at the time of its initial release in the fall of 1971.

Prior to entering the studio with producer Jackie Mills, Jones had recorded a batch of more somber and adult contemporary-sounding demos than the eventual Bell recordings of big band sunshine pop. While the latter played quite squarely into Jones’ established image; the former suggested another path that may (or may not) have launched Jones into a more fecund musical and commercial direction. Who can say? At the end of the day, we have these recordings and their manifold (and for too long overlooked) pleasures to enjoy, a worthy entry in the broad category of early seventies sunshine pop and in the specific canon of Davy Jones and Monkees-related recordings. Here is primetime Davy Jones, singing like an angel, and pointing to a love that leads to joy for all mankind. This release comes with a Booklet & Liner Notes & Photos

In O.D.O.O. singt Fela über die Auswirkungen der militärischen Machtübernahme und die Zerstörung der jungen afrikanischen Demokratien seit der Unabhängigkeit - insbesondere der jungen Demokratien, die nach langen Auseinandersetzungen und manchmal sogar Kriegen mit den Kolonialmächten ihre Unabhängigkeit erkämpft und gewonnen haben. Er sagte, dass Putschisten, wenn sie an die Macht kommen, Namen annehmen wie: Nigerianischer Oberster Militärrat, Ghanaischer Erlösungsrat, Libyscher Revolutionär usw. In den meisten Fällen wurden die Putschversuche von den ehemaligen Kolonialmächten geplant und finanziert. Für diejenigen, die sich dessen nicht bewusst sind, schafft die Präsenz des Militärs auf der politischen Bühne die Illusion einer friedlichen "demokratischen" Partizipation und einer funktionierenden Regierung. Zumal der größte Teil der täglichen Regierungsarbeit von Zivilisten geleistet wird, die den Militärchefs unterstehen. Für Fela besteht die Aufgabe der Streitkräfte unter normalen Umständen darin, die zivile Regierung zu verteidigen und zu unterstützen, und nicht darin, sie zu stürzen oder die Aufgaben eines Regierungszweiges an sich zu reißen, weil sie kein politisches Mandat haben. Das Gegenteil zu tun - das bedeutet "überholen". Jede Vorstellung von einem wohlhabenden und friedlichen Land, in dem das Militär an der Spitze der Macht steht, ist eine Illusion.

Die anhaltenden Skandale und die Korruption auf höchster Ebene, die alle Regime seit der Unabhängigkeit kennzeichnen, tragen dazu bei, Felas Desillusionierung und sein Misstrauen gegenüber dem Militär ins rechte Licht zu rücken. Er weist auf die Zweideutigkeit hin, daß die Verfassungen der neuen unabhängigen afrikanischen Nationen an die Verfassungen der scheidenden Kolonialherren angelehnt sind. Identifiziert das als Ursache der Probleme. In seiner sarkastischen Art bezeichnet Fela das, was in Afrika als Regierung durchgeht, als: '…soldier go! Soldier come!' Damit meint er, dass die Institution, die die militärische Struktur geschaffen hat, die Armee absichtlich dorthin gebracht hat, um ihr koloniales Werk fortzusetzen. Um die Not der Afrikaner unter einer solchen Diktatur deutlich zu machen, führt Fela eine Liste von Liedern an, die er geschrieben hat und in denen er die Ungerechtigkeiten des Systems kritisiert: Kalakuta Show! Mr. Follow-Follow! Zombie! Shuffering und Shmiling! Leider sind es die armen Massen, die am meisten unter der Misswirtschaft und Korruption der Regierung leiden. Von klein auf müssen afrikanische Kinder lernen, wie man in einem System überlebt, in dem man nicht weiß, woher die nächste Mahlzeit kommt - keine soziale Sicherheit, keine Bildung etc.

Trotz all dieser Rückschläge versuchen die Afrikaner weiterhin, ihre Kinder zu erziehen. Die Kinder wachsen auf, nehmen feste Jobs an, um ihr Leben zu verbessern, sparen hier und dort, um zu überleben. Letzten Endes jedoch machen die Ereignisse der Misswirtschaft verschiedener Verwaltungen alle Opfer und Abstriche, die der Einzelne zur Verbesserung seines Lebens macht, nutzlos.

O.D.O.O. war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf grünem, transparentem Vinyl neu gepresst und mit einem bedruckten Inlay versehen in einer single sleeve Außenhülle.

- Ltd. Col. LP: (Transparent Green Vinyl)

A repress of this long out of print album. 300 only LPs some on Yellow vinyl and some on Green vinyl randomly picked. Gatefold sleeves with 180gm vinyl. Discovered by friends of Martin Hannett and with input from one of his relatives,these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band.,the strange things/ sound effects they recorded in the studio together etc etc. The studio chit chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. A must for all Joy Division fans.

Joyce Harris was born in Kentucky in 1939 and moved to New Orleans with her family when she was 13 years old. Harris learned to play guitar, write songs and was soon performing duets with her younger sister Judy. They released three singles – ‘He’s The One’ / ‘Hey Pretty Baby’, ‘Washboard Sam’ / ‘Nursery Rock (Beedle De Bop)’ and ‘Hey Little Baby’/ ‘Rock And Roll Kittens’ – as Judy and Joyce in 1958. When her sister got married, Harris spent a year singing in restaurants in Mexico and a first solo single ‘It’s You’ / ‘The Boy In School’ was released on New York’s U.T. Records at the end of 1959. A talent spotter saw her in Mexico and was impressed enough to secure her an audition with the Austin, Texas-based Domino label. Harris was soon in the studio with Tommy Kaspar and Don Burch of Domino’s vocal quartet, the Slades, to record ‘I Cheated’ / ‘Do You Know What It’s Like To Be Lonesome?’ (R-903) in October 1960. ‘No Way Out’ / ‘Dreamer’ (R-905) followed in January 1961 and sold strongly enough to be licensed to Infinity Records. On 7 April 1961, Harris performed ‘No Way Out’ live on TV on American Bandstand. Three more singles would be issued on different labels between 1963 and 1966.

Harris’ cover version of ‘I Got My Mojo Working’ – backed by Sonny Rhodes’ group the Daylighters –was recorded at the ‘No Way Out’ session and remained unissued until Ace put it out on our “The Domino Records Story” in 1997 (CDCHD 506). With renewed interest in Harris we are delighted to pair this ‘Trailer’ version of ‘I Got My Mojo Working’ with ‘No Way Out’ as a 7” single.

Drop the needle and shake your stuff.

Die Wiener Samsara Joyride mit ihrem zweitem Longplayer, dem ersten auf Tonzonen. Von Beginn an stand für die Band eine Fusion des klassischen Rocksounds der 70er und 90er Jahre im Mittelpunkt, dabei bewegt sich die Band stilistisch frei zwischen Blues-, Psych- und Stoner-Rock. Eingängige, hypnotisierende Riffs, durchsetzt mit euphorisierenden Gitarrensoli und markanten Bariton-Vocals bestimmen die Songs - ein Spiel zwischen Altbewährtem und Experimentellem, zwischen Wiederholungen und Wendungen. 2023 wurden sieben neue Tracks geschmiedet, die zwar noch erkennbar im Stil des Debütalbums gegründet sind, sich aber in Sachen Komplexität und Experimentierfreude deutlich abheben. "The Subtle And The Dense" tritt schon vom ersten Ton an nicht nur deutlich heavier und progressiver, sondern vor allem selbstbewusster auf. Es wurde deutlich mutiger mit dem Einsatz von Hintergrundstimmen und Gesangsharmonien experimentiert. Leadgitarrist Michael Haumer übernimmt den größten Teil des Background-Gesangs, wobei sein kräftiger Tenor Miehes dunklen Bariton perfekt ergänzt. Aber auch Laura Fichtenkamms klare und weiche Frauenstimme bildet einen harmonischen Kontrast zur Hauptstimme. Verglichen mit dem ersten Album ist der Gitarrensound von Miehe und Haumer gleichzeitig subtiler und dichter. Wo früher noch live improvisiert wurden, finden sich heute fast ausschließllich in akribischer Kleinarbeit ausgearbeitete Lead-Gitarren-Parts, die mühelos zwischen Blues-, Metal und Stonerrock wechseln. Andreas Mittermühlners mal peitschenden, mal wuchtig stampfenden, immer jedoch punktgenauen Drums und Daniel Batliners vibrierend-groovender, alles andere als im Hintergrund stehender Bass, bilden gemeinsam das Rückgrat und den Puls der Platte, und bieten so den schneidenden Höhen von Haumers Sologitarre Fundament und Rahmen zur Entfaltung. Daraus ergibt sich ein großes Ganzes, das manchmal nach Kyuss, manchmal nach Danzig oder Black Sabbath, manchmal sogar noch Tool oder All Them Witches klingt, immer aber nach Samsara Joyride und als Gesamtwerk weit über die Summe seiner Teile hinauswächst.

German Funk, Rare Groove and 1970s Disco music (e.g. the highly regarded Munich scene around Italian producer Giorgio Moroder) have been widely recognized and featured on numerous reissues and compilations. However, the Boogie-ish post-disco side of German music history until now has remained undiscovered. One of the reasons might be that a broader national scene in Germany (unlike the UK for example) never existed. Even though tracks by US bands such as Dazz or Midnight Star were popular in discotheks in Germany around that time, bigger labels showed little interest in promoting German groups playing this new style of Disco Funk, now primarily known as "Boogie", that brought in electronical instruments and often lacked the iconic "four-on-the-floor" beat. Additionally, the number of bands that continued to play funky and soulful music in the 1980s diminished as other styles like Synth Pop, Punk, New Wave and NDW (New German Wave) ascended in popularity. Still, though German Boogie may have never existed as a national movement, great things were happening rather locally and each group featured on our compilation brings with them a particularly unique style and story.

Now, finally, "Boogie on the Mainline" sheds some light on 11 little-known German Disco gems that were released on small or even private labels. The album contains tunes by Imagination, Squish, Upstairs, Bernie L., The Poptown Syndicate, Peter Patzer, Ca$h, Trust, Publicity as well as classic tracks by Ströer and John Davis. It was compiled by John Raincoatman aka DJ Scientist

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at SXSW, Transmusicales in France and Electric Picnic in Ireland. Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM SHATT weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Opt Out by Oum Shatt, released 26 January 2024, includes the following tracks: "Love the Way She Stands", "Madame LeSoleil LeVant", "Over the World and Out", "Investors" and more.

This version of Opt Out comes as a 1xLP.

The vinyl is pressed as a blue disc.

Introducing Atoll: Unleashing the Unrelenting Power of extreme Metal... Prepare for an auditory assault like never before as extreme metal band Atoll is set to unleash their bone-shattering new double Album "Human Extract/Inhuman Implants." With brutal grooves, guttural vocals, and a relentless onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. "Human Extract/Inhuman Implants" is a merciless dive into the darkest depths of the human psyche. Drawing inspiration from the macabre and the unknown, Atoll's latest offering takes listeners on a spine- chilling journey. With hauntingly atmospheric lyrics, the band delves deep into the horrors of this otherworldly experience, creating a musical narrative that will leave fans on the edge of their seats. True to their signature style, Atoll unleashes a sonic tempest upon the listener, combining relentless blast beats, blistering guitars, and soul-crushing basslines. The guttural vocals pierce through the dense wall of sound, delivering a sinister intensity that adds a chilling layer of malevolence to the composition. "Human Extract" showcases the band's exceptional musicianship and their unwavering commitment to pushing the boundaries of extreme metal. Atoll has amassed a loyal following through their relentless live performances and uncompromising dedication to their craft. Their ability to conjure an electrifying atmosphere that grips audiences, coupled with their unmatched stage presence, has earned them a reputation as one of the most formidable forces in the metal scene. With "Human Extract," Atoll proves once again why they are at the forefront of the Extreme metal movement. "We wanted to create a sonic experience that would engulf listeners in an eerie atmosphere, where the boundaries between reality and the unknown blur," says Wade Taylor the band's vocalist. "With 'Human Extract,/Inhuman Implants' we aimed to capture the essence of fear and vulnerability, delivering a musical journey that mirrors the horrors of alien abduction and the horrors of earth and man. It's an intense, cathartic exploration of the human condition." -Atollbone-shattering new Album "Human Extract." With brutal grooves, guttural vocals, and a relentless
onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. Beautiful
bloodwork petri dish colored vinyl in gatefold sleeve.

In the early aughts, The Children"s Hour produced a genial, naive-adjacent, front-porch take on Josephine Foster"s celebrated solo music with the album SOS JFK, then disappeared from the face of the earth. The belated issue of their second album from 2003 furthers their arc delightfully. David Pajo"s Aerial-M-esque drums and bass elevates Josephine and Andy Bar"s shared vibe of love, pure and simple, to an apex of local band barroom bliss.