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Classic Dance Mania, DJ Slugo Tracks!

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Deer Jade – Jukurpa

Tired of grey skies and long faces? We’ve got a serious dose of musical vitamin D for you! Deer Jade is hailing from the picturesque Lake of Geneva, an area about which the late Jean Paul Belmondo had to say a thing or two. Her infectious smile and uplifting energy behind the decks already made her a household name in clubs and festivals around the globe. This solo debut is an expression of her strong self confidence and in-syncness with the world surrounding her. “Jukurpa” might be just one of the most flamboyant house tunes you’ll come across this year, readymade for swaying to on an early summer morning dancefloor. “Cosmic Dream” is of a more introspective nature, putting gentle psychedelic synth movements to good use. There’s a lot of heart in Deer Jade’s music. We’re happy to give it a home.

David Hasert & Niconé – Wasting My Time With You

Tired of grey skies and long faces? We’ve got a serious dose of musical vitamin D for you! ?This Cologne – Berlin joint venture is shedding rays of sun galore with this lost in reverie deep house jam. Built around a catchy as hell soul vocal and occasional piano outbursts “Wasting My Time With You” will certainly be one of our favorite tunes to waste our time to in 2024.

Deer Jade – Jukurpa

Hast Du genug von grauem Himmel und langen Gesichtern? Wir haben eine ordentliche Dosis musikalisches Vitamin D für Dich! Deer Jade stammt vom pittoresken Genfer See, einer Gegend, über die der unvergessliche Jean Paul Belmondo so einiges zu sagen hatte. Ihr ansteckendes Lächeln und ihre mitreissende Energie hinter den Decks haben sie bereits zum gerne gesehenen Gast in Clubs und auf Festivals rund um den Globus gemacht. Dieses Solo-Debüt ist Ausdruck ihres starken Selbstbewusstseins und ihrer Verbundenheit mit der Welt, die sie umgibt. “Jukurpa” ist vielleicht einer der extravagantesten House-Tunes, die man in diesem Jahr zu hören bekommt, wie geschaffen zum Mitschunkeln an einem frühen Sommermorgen. “Cosmic Dream” ist von eher introspektiver Natur und holt uns mit sanften psychedelischen Synthesizer-Bewegungen ab. In der Musik von Deer Jade steckt eine Menge Herzblut. Wir freuen uns, dass sie es bei uns verschüttet.

David Hasert & Niconé – Wasting My Time With You

Hast Du genug von grauem Himmel und langen Gesichtern? Wir haben eine ordentliche Dosis musikalisches Vitamin D für Dich! Das Köln-Berliner Joint Venture versprüht mit diesem verträumten Deep-House-Jam jede Menge Sonnenstrahlen. ?”Wasting My Time With You” ist mit seinen ?catchy Soul-? Vocals und gelegentlichen Klavier?-?Kaskaden sicherlich einer unserer Lieblingssongs, mit dem wir im Jahr 2024 unsere Zeit verschwenden werden.

Rock & Roll, indeed. Ruth Brown’s sizzling full-length debut — also known by its eponymous title — symbolizes what was exciting, fresh, invigorating, and raw about the burgeoning style in its halcyon days. Originally released in 1957, and reissued here in audiophile quality for the first time in partnership with Atlantic Records’ 75th anniversary, the set remains a testament to one of the most pioneering and talented vocalists to ever command a stage.

Mastered on Mobile Fidelity Sound Lab's renowned mastering system in California, pressed at RTI, housed in a Stoughton jacket, and strictly limited to 2,000 numbered copies, Mobile Fidelity’s 180g mono LP of Rock & Roll plays with an immediacy, vibrancy, and fullness that showcase the reach, power, and emotionalism of Brown’s voice. The sound of her support musicians — brassy horns, swinging rhythm combos, echoing backing vocalists, rollicking pianists, jaunty guitarists — is made clear and vivid, helping the upbeat fare to jump, juke, and jive with newfound energy and exuberance. In a related manner, Brown’s slower, more understated material crackles with an intimacy and passion that let you know you're in the presence of a woman who has lived what she sings. The longtime Rock and Roll Hall of Fame member deserves nothing less.

In an era dominated by big-throated vocalists, few — if any — came grander than Brown. The singer, whose repeat million-selling ‘50s success with Atlantic Records led many to call the then-indie label “The House That Ruth Built,” charted two dozen R&B hits in the span of a decade for the fledgling imprint. Rightly coined “Miss Rhythm,” the extroverted Brown put Atlantic on the national map, became the best-selling female musician of the ‘50s, and established a precedent that would ultimately lead to Grammy and Tony Awards. Her early works have lost none of their fire or flair.

Akin to many full-length LPs of its era, Rock & Roll doubles as a collection. Its 14 tracks comprise some of the more famous sides Brown recorded for Atlantic, beginning in 1949 with the all-time-great rendition of the ballad “So Long,” and continuing through 1956. After the song caught the public’s ear, the Virginia native briefly became known for her smoldering style with lovelorn material and torch songs, approaching them (see “Oh What a Dream,” “Old Man River”) with a combination of pained sadness and hardened resilience that had no contemporary equal. Encouraged to pursue the style by Atlantic Records co-founder Ahmt Ertegun, her R&B-driven material soon made her a constant chart presence.

Demonstrating what fellow legend Bonnie Raitt deemed “sex with class and dignity,” Brown merges blues and jazz, swing and gospel in electrifying fashion. She dares you not to move, dance, and get on your feet. A majority of Rock & Roll explodes with uptempo runs and jaunty readings of hot-blooded R&B numbers. Sweaty and sultry, bawdy and bold, Brown eclipses the anthemic blare of the saxophones and joyful clatter of the 88s, singing with a slight catch in her voice and hurricane-gale force that threatens to blow the roof off whatever room her voice occupies.

Evidence abounds. Listen to her prod the band and encourage the band members to blow a fuse on a sizzling “Hello Little Boy,” complete with cries and wails; stretch her phrasing to the heavens on the swaying “Wild Wild Young Men,” laden with romp-and-stomp beats; plead and persuade on the snaking “5-10-15 Hours,” which flips the script on the age’s notions of dominance; use her raspy tones, high notes, and breath control to mesmerizing effect on the smash “Mama He Treats Your Daughter Mean,” recorded with a group led by Ray Charles; survey the scene and take charge on the steaming “As Long as I’m Moving”; and tap a classy albeit flirtatious vein on “Lucky Lips,” which dented the pop charts as her first crossover hit.

Throughout Rock & Roll, Brown knows the lyrical connotations and spirited architecture of the songs inside-out. Her assertive voice — never harsh, strident, or false — is the epitome of the passionate desires and sonic strains that turned into nascent rock ’n’ roll. Brown played a pivotal role in helping the style develop, the record a timeless reminder of a lasting legacy that will never be forgotten.

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

In his long and successful career Ennio Morricone composed many dance songs as it was in fashion in the late sixties and early seventies.

Themes that were usually not directly connected with the subjects of the soundtrack, but which were played in disco clubs, on jukeboxes,

turntables and on the radio.



This collection contains a selection of very cool pieces such as the brilliant main theme from GRAND SLAM (1967), the shake rock (opening credits) from

Dario Argento’s classic FOUR FLIES ON GREY VELVET (1971), the danceable from the noir film VIOLENT CITY (1970), the beat version of the opening

credits of “Pioggia sul tuo viso” by The Sorrows, from HOW I LEARNED TO LOVE WOMEN (1966), “Per Vittorio (Bossa)” elegant bossa nova with flute and

percussions from THE SUCCESS (1963), the tribal shake from I Cantori Moderni which winks at the Dies Irae from GARDEN OF DELIGHTS (1967),

“Scuola di ballo al sole” a wild surf piece from THE HAWKS AND THE SPARROWS (1966), the supreme bossa nova from ONE NIGHT AT DINNER (1969)

with the super iconic voice of Edda Dell’Orso, the shake music of “Ostinazione al limone” from WHAT HAVE YOU DONE TO SOLANGE? (1972),

“Donnabossa” from FULL HEARTS AND EMPTY POCKETS (1964), a delicate bossa nova with a prominent harpsichord.

CLAUDIO FUIANO

Here we go again with the flow again. Drunkenstein is back on his stone cold 7inch saga. This time it goes deeper with these two slow burners. The A side rocks the instrumental track as usual and Fatlip got remixed on the B. This is a must for every jukebox owner and beyond!

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

Milanese club experimentalist Piezo takes a novel approach for his label’s seventh release: for the first time, the label head takes himself out of the equation entirely, instead donning his curatorial hat to pull together a vital selection of mind-bending club weapons spanning the 150-160 bpm bracket, bringing together a global crew of trailblazing sound adventurers.

First time vinyl release for this classic LOW holiday recording.
Their attention to musical detail combined with the heavenly vocal harmonies of ALAN SPARHAWK and MIMI PARKER (R.I.P.) are perfectly attuned to both traditional carols like “Silent Night” and more contemporary tunes such as “Blue Christmas.”
Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Lowʼs 20º Below studio in Duluth, MN. “If You Were Born Today” and “Blue Christmas” were released as a 7-inch single in 1997 on the English Wurlitzer Jukebox label, while “Taking Down The Tree” is taken from a 1998 compilation of live recordings issue by the Dutch VPRO radio station.

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Die kratzigen Gitarrenhooks, das eingängige Schlagzeugspiel und die ausgedehnten Codas klingen eindeutig nach Großstadt, doch bei WIDOWSPEAK gesellt sich ein trockener Minimalismus und eine an die Atmosphäre von David Lynch Filmen erinnernde Düsternis, die aus der Kleinstadt der Bandmitglieder stammt. Während der Grunge Seattle berühmt machte und die Riot Grrl und die DIY Einstellungen synonym mit Olympia sind, steht Tacoma für etwas Raueres und Düsteres. Berühmt-berüchtigt für den beißenden Gestank der Papiermühlen hat die Stadt es dennoch geschafft, eine fruchtbare Musikszene ihr Eigen zu nennen - nur wenige Außenstehende wissen das. Drei Jahre, nachdem sie schon bei einem kurzlebigen Sampler Label Projekt aufeinander getroffen waren, fragte Michael Molly, ob es nicht Zeit wäre, eine neue Band zu gründen. Molly fing trotz Bühnenangst an, zu schreiben und kurz darauf lud Michael den Gitarristen Robert Earl Thomas zu einer ersten Probe ein. Obwohl Robert seine Gitarre über die Musikanlage spielen musste und Michael auf nur zwei Trommeln spielte, zeigte die erste Stunde, dass alles passte. Sie suchten einen Namen aus, den Molly sich schon Monate vorher ausgedacht hatte und der Sound von WIDOWSPEAK begann, Form anzunehmen. Im Herbst hatte das Trio sechs Songs für eine Kassette names ,October Tape" zusammen, die sie nur mit einem Laptop Mikrophon und Garageband aufgenommen hatten. Das Tape fiel in die Hände von Captured Tracks und hier ist das selbstbetitelte Debüt. Aufgenommen mit Jarvis Taveniere von WOODS bekamen die noch zittrigen Probetracks im Studio Luft zum Atmen. ,Widowspeak" erschafft eine unheimliche Atmosphäre, die sich manchmal auf den Jukebox Pop der Fünfziger oder auf die Psychedelia der Sechziger gründet. Während WIDOWSPEAK mit ruhigeren Acts wie MAZZY STAR oder CAT POWER verglichen wurden, haben sie einen Sound definiert, der ernsthaft nostalgisch und zunehmend selbstbewusst ist.

*Limited to 150 copies worldwide*

Dave Wallace and Shaun O’Hara created Mad Dog as their first collaboration project back in 1992, later to go on and also form Fugitive – both projects being released in the early 90’s by Bournemouth based Underdog Recordings.

In 2018 Vinyl Fanatiks repressed their first EP and in 2019 Mad Dog 2 was re-released. This 7” is the 7” edits of Mad Dog 2 – a huge release back in the day and more recently for us, selling out in a few months.

This jukebox holed release is one for the collectors and those who like to drop 7” selections in their sets.

King of the mini platters…

Foreigner's debut spawned massive FM hits "Feels Like the First Time," and "Cold as Ice"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic "Feels Like the First Time" and "Cold as Ice," both of which were anchored — like most of Foreigner's songs — by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day, which AllMusic reviewer Andy Hinds says allowed the band to sound hard but polished.

The architect behind Foreigner's extraordinary catalog, Mick Jones has crafted some of rock music's most enduring songs. Grammy and Golden Globe-nominated songwriter, performer and producer and winner of the prestigious Ivor Novello songwriter award in 1998, Jones first began playing guitar in his early teens.

After starting his own rock band and opening for the Rolling Stones in pubs across South London, Mick's first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan.

After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York City and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi.

Foreigner defined a generation of rock music to people across the globe. From its iconic debut album, the band moved on to record-breaking hits including "I Want To Know What Love Is," "Waiting for a Girl Like You," "Double Vision," "Hot Blooded," "Juke Box Hero" and many more.

Now on 180-gram 45 RPM double LP you'll hear Foreigner in all its phenomenal glory. Mastered from the original tape by Ryan K. Smith at Sterling Sound, this reissue rocks. Double LP cut at 45 RPM, pressed at Quality Record Pressings and RTI, and housed in a Stoughton Printing tip-on old style gatefold jacket. That's how you upgrade a classic.

Fifteen years ago, Jukebox the Ghost were just seniors in college when they released their debut album, Let Live & Let Ghosts. Upon release, the album received instant acclaim from publications like Consequence of Sound and the Washington Post, with the former praising how the album “evokes both the musicality and lyrical richness of a band that is not only immensely talented, but who also get it.” Since then, the band has gone on to record and release 5 more studio albums, toured constantly and built up a devoted, loyal fanbase. And many of the songs on their debut rank among fan favorites including: “Under My Skin” (nearly 30 million Spotify streams), “Victoria” (13 million Spotify Streams), and “Hold It In” (10 million Spotify streams). These songs remain staples of the band's live set, as a result.

Recommend If You Like: Allen Ginsberg, Hal Willner, Bill Frisell, Marc Ribot, Jack Kerouac, William Burroughs, The Beat Poets, Lenny Bruce, Jazz. Allen Ginsberg, the voice of a generation, fierce, gentle, profound and profane, paired with music created especially for his work, by some of the guiding lights of Jazz in the modern era - Mark Bingham, Bill Frisell, Arto Lindsay, Marc Ribot, and others. All masterfully coordinated and produced by the mad scientist of collaborations, Hal Willner. First released in 1989, this time capsule surges forth into the now with 8 additional tracks never included on the original release. These are timeless works, a garden of eden on vinyl to wander through repeatedly, guided by the founding father of Beat Poetry. Graced by an irresistible coda co-written with Shimmy-Disc founder Kramer, his lyrical mantra of "Don't Grow Old

Limited to 500 copies ww. Independent heavyweights Spearmint return this year to follow-up 2021's highly acclaimed 'Holland Park', with the superb new album 'This Candle Is For You'. Spearmint have been making great records for a couple of decades now: this will be their tenth album proper. Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar, bass) and Ronan Larvor (drums). This album will be the 60th release on their own hitBACK label. Missed out so far? The new album provides the perfect place to start! The dizzying multiverse of an album covers a wide array of themes, including the search for a missing sister, the ways we remember lost loved ones, Prince's encounters with Joni Mitchell, the story of John Gavin, the James Bond star who never got to make a film, late-night drinking in Soho, the joys of B-movies & video nasties, changing attitudes to mental health, the plight and wonder of older cats, the reaction to the death of Sarah Everard, and the afterlife. Re-united with producer Rhodri Marsden (Scritti Politti), the band feel that this record is their best yet. Singer Shirley explains "We started off just wanting to make an album that would stand alongside our last one 'Holland Park', but it ended up surprising us - we love it!"

Alleviated Records is proud to present the Spoken-Word vibes of Sharpsburg, NC's PICCOLO JT and Chicago's RIO LOVE to some lush Larry Heard grooves. 1969: "recollections about the

NYC social & black music/party scenes on top of a driving afro-tribal groove.."

JUKE JOINTS - LIQUOR HOUSES: "insights on early Southern social & black music/party scenes flowing on a moody deep-soulful music-bed.."

MY COUNTRY: "social questions/observations on a slammin' deep Future-Tech flavored vibe.."

I'M NOT TOUGH BUT I'M TIRED: "social questions/observations on a slammin' deep Future-Ragga/Tech flavored vibe.."

Long before Lordi and Nightwish put Finnish metal on the map globally, Waltari were there churning out a curiously engaging concoction of various genres molten into metal. Waltari signed with Roadrunner Records in the early nineties and released Torcha, the first fruit of the co-operation in 1992. Torcha was very well received by the international music press, even though Waltari's iconoclastic habit of breaking all boundaries also annoyed people. Besides heavy metal, speed and thrash, Torcha has acid house, funk and punk, often all in the same song. Previously Torcha has not been widely available on vinyl. There was a very limited poor quality Korean edition in the early nineties, which stuffed the hour-long album on a single LP. The Svart edition has been prepared together with Kärtsy Hatakka, and it spreads the original album on three LP sides and has two bonus tracks on side D.

Nondi_ is the alias of Tatiana Triplin, a US producer based in Johnstown, Pennsylvania, who also runs the net label HRR, releasing the music of friends and herself under various aliases. Her brother is the up and coming MC, Eem Triplin. The music Nondi_ makes is informed by footwork, breakcore and Detroit techno. However, as she's only experienced them via the internet, she has has filled the gaps with her imagination and consequently the music is rendered from a dreamlike solitude that feels adjacent to other internet genres such as vaporwave. Her tracks are gauzy and abstract, smeared with gentle melody, rusty tones and occasional shafts of sunlight, sometimes set to a distant pulse, sometimes collapsing as if the music itself is falling apart. Of the album she says: "Flood City Trax is music that captures the mood of living in a town like Johnstown, and more broadly the isolation of poverty. That's the environment these tracks came out of, after all. Johnstown is a very poor isolated small factory town in Western Pennsylvania which has a dark history of deadly floods, the most well known being the 1889 flood which was like something out of a horror story and the 1977 flood which the Triplin family survived. Johnstown has never moved past its floods, hence the nickname "Flood City". There's very little to do and every year the town shrinks more, and more buildings are knocked down or condemned. Everything is old but simultaneously the past seems like it has just disappeared." LP A: 1/FCD (Floaty Cloud Dream) 2/Orchid Juke 3/Sun Juke 4/Nondi Shadow 5/Euphonic Daydream 6/01-25-2022 B:1/Healing Rain 2/Dusty 3/Nostalgic Vision 4/Long Ago 5/Sentimental Juke 6/Harmoyear

Seit 18 Jahren führen sie Echtzeitgespräche, ohne sich dabei aufzuführen. 2-9 Berliner Ladies, die sich live durch Stile und Geschichten spielen und dabei schon an die 200 B a n d s f o r m i e r t e n . G e n r e : K o n z e p t - P e p . Jedes Konzert und damit jede Band sind textlich und namentlich unauflösbar mit allen Beteiligten, Spielort und Setup verknüpft, Wiederholungen waren nur in Ausnahmen erlaubt. Doch nun gibt es sie doch: Festplatte. Eine Compilation.

Auf Seite A sehnen sich Spassbremse mit Engelsstimme nach Freiheit, während die Abstände im dunkel treibenden Offbeat über den Kontrollstaat schmunzeln. Pimmelbett rappen und schwelgen episch in the „Infinite Nature of Dreams“. Und nachdem die supersymmetrischen Teilchen elegisch über Einsamkeit sinnieren, feiern Leh Kokott ihren Sommerhit 2015 „un Bouton“.

Four-to-the-floor sagen Fräuleinschein auf Seite B und denken dabei an „Kartoffelpüree“, worauf eine unbekannte Band in finnischer Tradition ihrer Stammkneipe hinterher weint. Die Kraft der Selbstbefriedigung wird im Blues zelebriert und balkanesk besingt Puncikák ein dringendes Bedürfnis in allen ihr zur Verfügung stehenden Registern. Die Flöhe und die Drunken Sinkers vollenden im Punk.

An den Vocals lernt man alle Musikerinnen kennen, begleitet von einer klassischen Bandbesetzung, eingestreuten Spielereien und diesem unwiderstehlichen Cello. Festplatte - ein Fest von Platte. Im Herzen der Punk, im Ohr ein Wurm.

Gatos Negros, aka Madrid DJs/ producers Christian C. & Iván Smoka, second album 'Hi Score' is a texture and abstraction gambling project now on sale via Vasco Ispirian's Made in Green Records label.
'Hi Score' sees the duo sailing ethereal ambient soundscapes, shady alt rock waves, experimental grooves almost horizontally danceable, acid electro-pop & avant-garde electronica- all in an utterly smart, consistent, and effective vocal fashion.

Full of shimmering guitars, opulent harmonies, and good ol' rock 'n' roll, the band was limited to a handful of singles before going their separate ways. Here you'll find a full LP's worth of The Gestures on vinyl, all killer no filler!

In California, The Gestures were especially well- received, maybe because "Run, Run, Run" had the lightness, the hook, and infectious drive of the California surf and car band hits. Record World's hot picks column called it a surf-like sound that should endear them to teens. The slice is a hard-driving ditty. Cash Box said The Gestures bow was a hard- rock- ing, Liverpool- sounding affair... powerhouse instrumental support on this haunting entry. There's a complete change of pace in the soft-sounding uptempo undercut.

"'Run, Run, Run' hit #1 in the Twin Cities, #3 in Los Angeles, #1 in New York and #3-5 in Oklahoma City. It reached the top of the local C&N Sales jukebox charts, cracked Billboard Magazine's top 40, and as I mentioned before, was even played on Bandstand. It was right up there with records by the Hondells, Gene Pitney, Jay & the Americans, and all the early British bands - including the Beatles."
- Dale Menton (of The Gestures)

The six members of The Howdies each bring a unique musical background that combines to create a singular sound. Their Athens, Ga home has long been an artistic haven for all genres of music and an open forum for shared expression.

The result is a place where outsiders flourish and the rules of musical tradition are often bent or even broken with a wink and a smile. Produced by David Barbe and T. Hardy Morris and recorded at Chase Park Transduction, only Athens could create a group like The Howdies and a record like Howdies All Around. A little bit loose, a little bit home made but over flowing with the love of friendship and the sheer joy of creating something new.

Pops Smash: Better Never Than Late! Almighty Jahwell enters the 21st Century as Pops Smash : The Dynamite Alter Ego Of Raploitation! Born in the 60's, rhymed in the 70's and style from the 80s as a card founding member of the legendary Son Of Bazerk Crew, this cat is beyond ready for 2020. His debut album "Pops Gotta Brand Old Smash" emerges with a local bar and tavern jukebox style of CurbFunk and OG wit, put down on wax, cassettes, 8tracks and all that new jive, too. All fresh on The SpitSlam Record Label Group. Produced by C-Doc. Vinyl edition features an exclusive bonus remix.

Ennio morricone's 1975 soundtrack for french film "peur sur la ville," reissued for the first time on double vinyl including a 2nd lp worth of bonuses. Approved by ennio morricone and remastered from the original tapes with liner notes by fellow musicians am and jb dunckel (air). Gatefold sleeve designed by eric adrian lee..

Wewantsounds is delighted to announce the very special reissue of one of ennio morricone's most striking soundtracks composed for henri verneuils' 1975 film peur sur la ville (fear over the city). This special edition includes the original score released in 1975 plus a second vinyl worth of bonuses which have never been out on vinyl. These includes two tracks making their official debut after 45 years.

Yussef Dayes veröffentlicht sein mit Spannung erwartetes Debüt-Solo-Studioalbum 'Black Classical Music' auf Brownswood. Zusammen mit Kamaal Williams brillierte der Multiinstrumentalist und Visionär auf dem Yussef Kamaal-Album 'Black Focus', das den Jazz FM Newcomer-Award 2016 gewann und zum Meilenstein der aktuellen Londoner Jazzbewegung avancierte. 'Black Classical Music' ist ein 19-Track-Werk, das die Zuhörer durch einen Spiegel auf die Vergangenheit und Gegenwart des einflussreichen Künstlers blicken lässt, während es Themen wie Zuhause und Familie erforscht. Inspiriert wird Yussef von seinen musikalischen Helden Miles Davis und Rahsaan Roland Kirk und seinen ausgedehnten Reisen rund um den Globus, die sein Studium des Rhythmus vertieft haben. Ehrenvolle Features auf 'Black Classical Music' bringen Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchester, sowie Venna, Rocco Palladino, Charlie Stacey und Elijah Fox.

Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.

Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.

“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”

Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.

"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."

Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”

Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.

"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)

"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)

‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)

"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES

‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)

“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.

Yussef Dayes veröffentlicht sein mit Spannung erwartetes Debüt-Solo-Studioalbum 'Black Classical Music' auf Brownswood. Zusammen mit Kamaal Williams brillierte der Multiinstrumentalist und Visionär auf dem Yussef Kamaal-Album 'Black Focus', das den Jazz FM Newcomer-Award 2016 gewann und zum Meilenstein der aktuellen Londoner Jazzbewegung avancierte. 'Black Classical Music' ist ein 19-Track-Werk, das die Zuhörer durch einen Spiegel auf die Vergangenheit und Gegenwart des einflussreichen Künstlers blicken lässt, während es Themen wie Zuhause und Familie erforscht. Inspiriert wird Yussef von seinen musikalischen Helden Miles Davis und Rahsaan Roland Kirk und seinen ausgedehnten Reisen rund um den Globus, die sein Studium des Rhythmus vertieft haben. Ehrenvolle Features auf 'Black Classical Music' bringen Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchester, sowie Venna, Rocco Palladino, Charlie Stacey und Elijah Fox.

Ghostface Killah reunites with his partner in rhyme Raekwon to bring fans Bulletproof Wallets, which continues Ghost’s winning streak of delivering front to back classic material. Filled with the usual Ghost slang, bass heavy production, Bulletproof Wallets dropped not long after Supreme Clientele without skipping a beat. The fun Ghost & Rae are having on this record is beyond apparent. Bulletproof Wallets is almost like a party album, hit singles and street bangers. “Never Be the Same Again” (with Carl Thomas & Raekwon) and “Ghost Showers” play alongside “Maxine” and “The Forrest” all working off each others energy. Other stand outs like “Walking through the Darkness”, “The Hilton” all bang through the speakers and continues to add to Ghost’s undeniable catalog. On some groundbreaking production from The RZA, Alchemist, Carlos 6 July Broady and Mathmatics, Ghostface shines and the chemistry between Rae and Ghost is incredible!

Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.

Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.

They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.

This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.

It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.

Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.

Wie Nebenflüsse, die einen mächtigen Fluss speisen, umfasst der Blues unzählige Genres und Künstler, von denen keiner dem anderen gleicht, die aber alle einen kraftvollen Strom bilden, der durch die reiche Geschichte der zeitgenössischen Musik selbst fließt. Tell Everybody! (21st Century Juke Joint Blues From Easy Eye Sound), eine Zusammenstellung neuer Aufnahmen aus dem gesamten Blues Spektrum, ist eine Anerkennung und Bewunderung für die Musiker, die diese amerikanische Tradition in dieses Jahrhundert und darüber hinaustragen.

Auf dem Album sind Künstler vertreten, die alle in Dan Auerbachs Easy Eye Sound-Studio in Nashville aufgenommen wurden, darunter auch neue Aufnahmen von Auerbach selbst und den modernen Titanen The Black Keys. Von den GRAMMY®-nominierten Blueskünstlern RL Boyce und Jimmy ”Duck” Holmes über verschollene Perlen des verstorbenen Leo ”Bud” Welch und der legendären Gitarrenlegende Glenn Schwartz aus Ohio bis hin zu neuen Stimmen des Blues wie Nat Myers, Gabe Carter und Moonrisers ist diese Zusammenstellung eine bemerkenswerte Reise in 12 Songs, eine atemberaubende Perspektive auf eine Kunstform, deren Erbe in der modernen Musik lebt und atmet.

Tribe pumpin, very structed tunes, funky and Hardtek at the same time...
A masterpiece !

Notice a very funny/danecfloor /party time AND musical tune : The Fly (A3), a sound morphing from a fly-sound (the very very annoying one we all know^^) to an Acid electro wicked sound !
Exciting stuff really !! ahahah