Cerca:jus just

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

2024 Repress
The Aggrovators were one of Jamaica’s finest session bands, many of the tracks you know and love from the 70’s Reggae scene probably featured this group of musicians in some shape or form.
The band were put together by Bunny’Striker’Lee , one of Jamaica’s formidable producers, who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy’s Studio or Channel 1.
The updating of Studio 1 classic’s which in some cases were reworkings of American R&B tunes was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out.
This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better…you can’t keep a good tune down never mind a great one..
So sit back and enjoy The Aggrovators in fine Studio 1 style….RESPECT

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

Originally appearing on the Raven label in 1988, Time Keeps Moving On constituted Rick Clarke's first LP following his work in the earlier eighties as part of brit-funk groups Potion and Side On, and solo output including Love with a Stranger (released on The Specials' Ghost Town's producer John Collins' Local Records imprint) and a few singles for RCA. Largely co-written and co-produced with Peter Hinds (Take Three, Atmosfear, Light of the World) and a guest turn from Master T aka Toyin Agbetu - this is foundational street soul that appeared at a time when the likes of Loose Ends were starting to break through to the US, and Soul II Soul just emerging.

Gerry Mulligan mit der Night Lights Band auf Europatournee 1959. Das großartige Quartett besteht aus Gerry Mulligan am Baritonsaxophon und Klavier, Art Farmer an der Trompete, Bill Crow am Bass und Dave Bailey am Schlagzeug. Die Band war auf dem Höhepunkt ihres Könnens, und diese atemberaubenden Aufnahmen trugen entscheidend dazu bei, Mulligans Band als eine der angesagtesten Bands jener Zeit zu bestätigen.

In Zusammenarbeit mit dem Swedish National Radio Archive und dem Gerry Mulligan Estate ist es uns gelungen, die Original-Masterbänder im Tresor von Sveriges Radio ausfindig zu machen und sie Kevin Gray zur Verfügung zu stellen, der mit seiner gewohnten Magie beim Mastering und Editing diesen bisher unveröffentlichten Aufnahmen eine unglaubliche klangliche Bandbreite verliehen hat. Das neu gestaltete Cover wurde von Two To Tango entworfen, die regelmäßig mit New Land zusammenarbeiten, und bietet einen großartigen modernistischen Look.

Hergestellt bei Pallas und gedruckt auf 180g Vinyl im Reverse-Board-Sleeve, ist dies eine wichtige Ergänzung für jede Sammlung. Der Baritonsaxophonist Gerry Mulligan war eine wahre Ikone des Jazz und von den 1950er Jahren bis zu seinem Tod 1996 eine der herausragenden Persönlichkeiten der Westcoast-Szene. Mulligan, der vom Downbeat Magazine 42 Jahre in Folge zur Nummer eins auf seinem Instrument gewählt wurde, war einer der wichtigsten Musiker seiner Zeit und ein Aushängeschild, das den Sound des Jazz mitgeprägt hat. Gerry Mulligan spielte sowohl in der Miles Davis Formation der Birth Of The Cool-Ära als auch im pianolosen Quartett mit Chet Baker und war immer an vorderster Front, wenn es darum ging, was in Amerikas einzig wahrer Kunstform angesagt war und ist.

It's official! Post Malone is finally releasing his long-awaited country album. This marks his concrete foray into country music. He ensures us this isn't just a few fleeting off-hand singles. Rather, he's doubling down on his excursion into Nashville. Includes the single ft. Morgan Wallen “I Had Some Help”. A 9x diamond-certified GRAMMY® Award-nominated phenomenon, Dallas, TX artist Post Malone regularly rewrites history, blurs boundaries, and incites internet-breaking conversation with every move.

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Blue/ Orange Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Laura Jane Grace & the Mississippi Medicals - das brandneue Rock-Quartett unter der Leitung von Grace und mit Matt Patton von den Drive-By
Truckers (Bass), Mikey Erg von The Ergs (Schlagzeug) und Paris Campbell Grace (Gesang, Perkussion) - freuen sich, die Veröffentlichung der Debüt-EP
Give An Inch ankündigen zu können.
Aufgenommen von Patton bei Dial Back Sound in Water Valley, MS, läutet Give An Inch ein neues und aufregendes Kapitel für die Emmy-nominierte
Künstlerin, Autorin und Aktivistin ein, indem sie auf die verschiedenen Talente dieser erfahrenen Musiker zurückgreift. Angeführt von den Singles „All
Fucked Out“, einem Stück, das der Rolling Stone als „eine staubige Plane aus treibendem Country-Punk“ bezeichnete, und dem ausgelassenen „Karma
Too Close“.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

THE CHEFS tauchten zum ersten Mal auf der ,Vaultage 79" Compilation aus Brighton auf. Zwischen 1980 und 1981 veröffentlichten sie drei Singles: zwei auf dem legendären Brightoner Label Attrix, eine auf Graduate Records. John Peel und andere Radio DJs spielten ihre Songs zu Tode, was schließlich in BBC Radiosessions mündete. Nachdem THE CHEFS zu SKAT geworden waren, brach die Band auseinander. Helen McCookerybook sollte als HELEN AND THE HORNS Erfolge für sich verbuchen und ist heute noch solo aktiv. Diese Doppel-LP mit 26 Tracks von THE CHEFS enthält sämtliche ihrer Aufnahmen auf Attrix und Graduate Records, dazu bisher unveröffentlichte Songs des verschollenen Debütalbums, und Songs aus den Radio Sessions für John Peel und Richard Skinner. Dies sind die Wurzeln von C-86, von Indiepop und vielem mehr. Nebenbei ist ,Records&Tea" auch noch ein wirklich gutes Album.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

Back in print, pressed on canary yellow vinyl!

Hailing from the wintry heartland of Minneapolis, the Trashmen achieved cult immortality with a passel of landlocked surf anthems and reckless garage-rock gems, best exemplified by their immortal anthem "Surfin' Bird," two and a half minutes of inspired, unhinged mayhem that's never been equaled. But "Surfin' Bird" is just the tip of the iceberg of the 1964 album that bears the song's name. The only longplayer that the band released during their original lifespan, Surfin' Bird demonstrates that the Trashmen were no novelty act or one-hit wonder, but a brilliant, original outfit who filtered their R&B and surf influences through their own cheerfully demented sensibility to make some of their era's most reckless, uninhibited rock 'n' roll. ll outfit.

Don Heffington was a musician's musician. Starting his professional career in the late 70s and early 80s as a part of Emmylou Harris' Hot Band and seminal alt-country pioneers Lone Justice, Heffington went on to a session career that included work with Bob Dylan, Dwight Yoakam, The Jayhawks, Dave Alvin, The Wallflowers, and many, many more. Heffington was also a prolific songwriter, and here, his colleagues and friends pay loving tribute to those songs in a benefit for the Sweet Relief Musicians Fund (Heffington passed away in 2021 from Leukemia). Artists such as Jackson Browne, Fiona Apple, Buddy Miller, Dave Alvin, Watkins Family Hour, Peter Case, and others interpret Don's quirky songs. In the words of Jackson Browne: "I think of (Don) as inhabiting the same Los Angeles as Warren Zevon, Lowell George and Tom Waits.”

Philadelphian Jazz legend Benny Golson, an American bebop/ hard bop jazz tenor saxophonist, composer, and arranger, has had a long and storied career.

He has played with luminaries such as John Coltrane, Dizzy Gillespie and Art Blakey, to name just a few.

With his 1978 album “I’m Always Dancin’ To The Music,” Golson took a unique turn. Known primarily for his hard bop roots and classic compositions like “Whisper Not”

and “Killer Joe,” Golson steps into the realms of jazz-funk and disco with this release.

The title song is a stellar dance groove, holding heavyweight status among underground soul, funk, and jazz aficionados—a true ‘rare groove’ indeed.

Produced by George Butler, the instrumental hook of this title song has been sampled many times by artists such as Naughty by Nature, Logistics, Leona Lewis, and many others.

This is a real hidden gem and well worth seeking out!

This release comes as a limited edition of 750 copies on light green coloured vinyl.

1974 erscheint Georg Danzers Konzeptalbum "Der Tätowierer und die Mondprinzessin", begleitet von einem Buch mit Texten und Illustrationen von Georg Danzer. Die zehn darauf enthaltenen tiefsinnigen Lieder, die unter anderem unter der Mitwirkung von Willi Resetarits und seinen "Schmetterlingen" sowie Robert Ponger, Christian Kolonovits und "Supermax" Kurt Hauenstein entstanden, haben bis heute Relevanz. Georg Danzers Manager und guter Freund, Franz Christian "Blacky" Schwarz, initiierte und leitete die Wiederveröffentlichung dieses künstlerischen Schatzes.Für die Neuauflage wurden die Original-Mischbänder aus dem Jahr 1974 verwendet und von Othmar Eichinger von TON Eichinger, Wien aufwändig restauriert, digitalisiert und gemastert. Die Reihenfolge der Lieder stimmt nicht mit der Original-LP überein, sondern wurde dem Ablauf der Geschichte angepasst. Die Liedtexte wurden auf die tatsächlich gesungenen Versionen umgeschrieben. Die Geschichte selbst ist die Originalversion. Franz Christian Schwarz über die Entstehung des Albums:Es war 1974, es war Februar und es war kalt. In Peter Müllers Tonstudio herrschte reger Betrieb. Georg Danzer saß auf einem Sessel und klimperte auf der Gitarre und sang leise den Text dazu. Vor sich auf einem schon in die Jahre gekommen Tisch lagen einige mit Maschine beschriebene Blätter. Ab und zu hielt er beim Spielen inne und korrigierte den zur Melodie passenden Text. Zwischendurch machte er auch kleine Zeichnungen mit Wachskreide, die das gleichnamige Buch illustrieren sollten. Nach und nach waren die Musiker wie vereinbart mit ihren Instrumenten gekommen. Es herrschte eine fast familiäre Stimmung. Es wurde Kaffee getrunken, geplaudert, gescherzt und gelacht. Peter mahnte zu Disziplin und wies den Herren - denn die Schmetterlinge, der Chor mit Dame, waren erst für den nächsten Tag eingeplant - ihre Plätze zu. Das Klavier hatte seinen fixen Platz und rundherum wurde nun postiert. Peter hatte einen genauen Plan, wer wo stehen sollte und aus tontechnischen Gründen auch musste. Das Schlagzeug kam in ein abgeschirmtes Kammerl mit einem Glasfenster, der Bass mit Verstärker kam nach links hinten, gegenüber wurde das Gitarren-Set ebenfalls mit Verstärker aufgebaut. Die Orgel musste auch noch Platz finden und die Percussion wurde hinter einem halbhohen Paravent platziert, damit der Musiker Sichtkontakt mit den Kollegen und dem Tontechniker halten konnte. Jetzt noch Mikrofone aufstellen, verkabeln, justieren und dann Tonproben. Nun war alles bereit. So in etwa hat Georg gerne vom ersten Studiotag zu den Aufnahmen für die nun in einer Spezialversion zum 50 Jahre-Jubiläum vorliegenden Vinyl-Schallplatte erzählt. Und er war sehr stolz auf sein erstes Konzeptalbum.Georg Danzer - "Der Tätowierer und die Mondprinzessin"Ab 18.10. als LP im Gatefold mit 12seitigem Booklet

In partnership with Hollywood Records and Regency Enterprises, Waxwork Records is thrilled to present BARBARIAN Original Motion Picture Music by Anna Drubich. Barbarian is a 2022 American Horror film written and directed by Zach Cregger in his solo screen writing and directorial debut. The film stars Georgina Campbell, Bill Skarsgård, and Justin Long. The plot follows a woman finding out that the rental home she has reserved has been accidentally double-booked by a man, not knowing of a dark secret within the dwelling. Anna Drubich is an award-winning film composer from Moscow. Her diverse body of work includes live action features, animated features, television series, documentaries, and plays and concert halls across the world. Anna has score over 35 major film and TV projects including a co-score with Oscar-nominated composer Marco Beltrami on the Guillermo Del Toro adaptation of Scary Stories To Tell In The Dark, Netflix's hit feature Fear Street: 1994, the horror-comedy Werewolves Within, and more. Waxwork Records is proud to present BARBARIAN Original Motion Picture Music as a deluxe vinyl album featuring 180 gram "Mother's Milk & Blood" splatter colored vinyl, heavyweight gatefold jackets with matte satin coating and UV spot-gloss varnish, new artwork by Steven Reeves, and an 11"x11" art print insert!

Die ultimativen Greatest Hits der gefährlichsten Band der Welt! Die Platin-zertifizierte Sammlung enthält
die größten Hits, Fan-Favoriten und Raritäten. Dazu gehören „Kickstart My Heart“, „Home Sweet Home“,
„Dr. Feelgood“, „Too Young To Fall In Love“, „Don’t Go Away Mad (Just Go Away)“ und viele mehr.

Bloodshot celebrates the 10th anniversary of No-Hit Wonder with this Barrel Select edition!

Barrel Select exists to highlight the best of Bloodshot’s cask-strength catalog and there’s no doubt that the No-Hit Wonder sits proudly on the top shelf.

“Your favorite songwriter’s favorite songwriter” according to Vice Magazine, Cory Branan, with songs covered by Frank Turner and Dashboard Confessional and a circle of friends and collaborators that includes Jason Isbell and the Hold Steady’s Craig Finn (who also grace this album’s credits as guest vocalists).

When it came out in 2014, all the people whose taste are worth a damn were raving about it, with Rolling Stone putting it on their list of that year’s best country albums.

With ten more years of aging, it’s only gotten better. It hasn’t mellowed, but it makes more sense now that the country mainstream has started to catch up to the level of outlaw cowpunk soul Cory was packing.

Our Branan-approved, Barrel Select edition stamps the sound onto Bloodshot Red vinyl and includes a full-size reproduction of the album’s 2014 promo poster with full lyrics and a new note from Cory on its backside.

Drink it in. It packs a punch.

Featuring appearances from Jason Isbell, Caitlin Rose, Craig Finn, and Tim Easton

10th Anniversary Barrel Select edition on Bloodshot Red vinyl

Includes a reproduction of the original promo poster, full lyrics

“Cory Branan is your favorite songwriter’s favorite songwriter” —Chicago Tribune

“He radiates talent” —Vice

“If you’re gazing slunk shouldered at your Jason Isbell and Sturgill Simpson records as so loved that you’re tired of listening to them, The No-Hit Wonder may just be the project to point your nose toward next. . . This is old school country rock at its finest” —Saving Country Music-

Prima, who died in 1978, was the eternal game-changer. In his early years, he led various jazz outfits including the highly rated New Orleans Gang. A star of not only music, but also films – Prima appeared in several shorts and full-blown Hollywood productions during the ’30s. In 1967 he provided the voice for King Louie, the orang-utan in Disney’s The Jungle Book, for which many people remember Prima today. But as this essential double-album confirms, long before that he made great, humour-instilled, often exciting sounds that left audiences feeling happy. Featured here are all his very best and most loved songs

“Pinhead Gunpowder started writing songs in 1990 and made our first 7-inch the following spring. Nearly every year since, we’ve met up to play. Some years we recorded—five albums and eleven EPs— and some years we played shows. “But since 2010, we’ve been playing just for ourselves, something bands forget to do. Rather than ‘writing for the new album’ or rehearsing to get ready for tour, we went back to the basement every year. We lived in the house we’d built, remembering how we’d made the music for each other in the first place.We played all over the world—well, at least Oakland, Singapore and New York—but only for each other. We worked on the reissues of our back catalog, too and found ourselves fonder of each other and more family-like than ever. “A new record and tour was only a matter of time, but between the members’ other bands projects, and families, that was hard to find. When we finally did, we were all surprised. We think it’s our best yet—our catchiest, most collaborative, and most poignant.” — Aaron Cometbus Pinhead Gunpowder is Billie Joe Armstrong, Aaron Cometbus, Jason White and Bill Schneider. Unt is fourteen brand new songs recorded in 2023 by Chris Dugan (Green Day, Weezer, Iggy Pop, Samiam, Swingin’ Utters etc) and mastered for all formats by Nick Townsend (Cheap Trick, Bad Religion, Iron Maiden etc) at Infrasonic Sound.

• First issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in-demand tracks ever to appear on Ace Records’ “Girls With Guitars” compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other.

• This new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal.

• An original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

A 2024 edition of Terry Riley's »Descending Moonshine Dervishes,« originally recorded live in Berlin in 1975 and released by Kuckuck in 1982. This will be the first time the remastered album has been available since 2016.

Using just intonation and a modified organ, Riley conjures forth a rich and layered sound that challenges the Western ear, reflecting his associations with Indian classical singer Pandit Pran Nath and La Monte Young, whose Well Tuned Piano was well underway. »Descending Moonshine Dervishes« is a virtuosic and kaleidoscopic performance, standing as one of the finest works of a revolutionary composer and musician at the height of his powers.

»Descending Moonshine Dervishes« dates from 1975 and it belongs to a larger Dervish series of compositions whose origins predate Riley’s two signature works of minimalism, »In C« (1968) and »A Rainbow In Curved Air« (1969)… the piece is structured around just intonation, which stretches the listening experience into new areas. Played on a Yamaha organ with a bit of tape delay that allows Riley to duet with himself, the music of »Descending Moonshine Dervishes« is an ear expansion that goes through skittering arpeggios and long, droning notes that indicate something of the many levels that it operates on. – Louise Gray, The Wire Magazine (March 2017)

California composer Terry Riley launched what is now known as the Minimalist movement with his revolutionary classic 'In C' in 1964. This seminal work provided a new concept in musical form based on interlocking repetitive patterns. It's impact was to change the course of 20th century music and it's influence has been heard in the works of prominent composers such as Steve Reich, Philip Glass and John Adams and in the music of rock groups such as The Who, The Soft Machine, Tangerine Dream, and many others. His hypnotic, multi-layered, polymetric, brightly orchestrated eastern flavored improvisations and compositions set the stage for the prevailing interest in a new tonality. Riley has worked with Kronos Quartet, La Monte Young, members of Fluxus, Chet Baker, Pandit Pran Nath, his son Gyan Riley, choreographer Anna Halperin, and many others over the years.

Both tracks were written and produced by Lee Perry. This is the first time these two complementary tracks have been released together.

The A side is the first ever reissue of the gorgeous SINNER MAN by ANNETTE CLARKE. This rare track was initially released as the B side of JUST ONE LOOK, also performed by ANNETTE CLARKE on the Technics label in the UK in 1973. It seems it was never released in Jamaica.
The B side SINNER MAN DUB is a very rare Lee Perry Dub version of the A side. It was released only as a single for a Lee Perry box of 8 very rare singles by Trojan in 2005. This box is now also rare.

ABOUT LEE SCRATCH PERRY:
Lee "Scratch" Perry was born Rainford Hugh Perry on the 20 March 1936 in Kendal Jamaica. An eccentric Reggae artist and a genius producer, Lee has written, sung and/or produced unique tracks for himself and everybody else worldwide from Bob Marley and Junior Murvin to the Clash and many more… Under his own name, he recorded over 80 albums, countless singles and covered every musical style from Ska, Rocksteady and early Reggae to Dub, Roots Reggae and their electronic variations... His influence on Jamaican music and Reggae is just immense.
Perry died on 29 August 2021 in Lucea, Jamaica, during the Covid outbreak, aged 85.

ABOUT ANNETTE CLARKE:
Unfortunately, very little is known about Annette Clarke besides the fact there was a Jamaican singer that recorded Rhythm’ n Blues and Ska duets with Shenley Dufus in 1961 and with Charley Organaire in 1964. She also recorded this gorgeous duet with Roy Pantone “My Baby” in 1963.
Then nothing until this session with Lee Perry in 1973 where she aparently recorded just two songs, the lovely cover of the 1963 Doris Troy’s “Just One Look” and “Sinner Man”, a gorgeous song penned by Lee Perry and unrelated to the Nina Simone’s hit. Then there is no trace of further recordings after these. A real shame considering the outstanding talent she showcased with these two superb songs…

2021. Italoconnection, the partnership of Fred Ventura and Paolo Gozetti, released Midnight Confessions Vol 1. Three years on, the awaited second volume has arrived. All of the analogue emotion that characterised the first collection is present from the outset, warm throbs of bass coupled with clean melodies in “The Wait”. Smoky lyrics permeate the nine track album, the unmistakable timbre of Ventura’s voice recanting tales of optimistic encounters and lost love. As with the 2021 release, collaborations with fellow italo romantics are peppered throughout. Francesca Gastaldi returns to work with Italoconnection once again. Having featured on their Humanize EP, Gastaldi’s vibrant voice shines through the smouldering synthlines and robust beats of “Live Forever”. Jaia Sowden takes centre stage for “Just Like Water”. A story of discontent and disconnect is sang over bittersweet keys as eastern undercurrents flow. Contemporary commentary is intertwined with undulating melodies and distant lyrics in “Cold War Lovers”, a cold wave edge cutting through the sounds and words of “Systematic” .The dancefloor surfaces throughout the record. Bodies are pulled tight by the bold and bright bars of “Why” before drifting apart in the lovelorn lamentations of “Lover 2 Lover”. “Europa” pays homage to the machine music of the continent as a litany of influences are drawn upon . The title piece closes. A fragile drum pattern is bolstered by cascading chords, piano notes sailing alongside words by Gastaldi and Ventura. Welcome confessions from musicians who live and breath the synthesizer traditions of Italy.

The yellow and black cloudy vinyl showcases two modern Chicago house tracks perfect for summer vibes. "Feeling of Power" is a super groovy track that evolves with a feminine choir, slight acid lines, and sunny guitar arrangements. Smiles plastered on ravers, "Voodoo" will bring the best vibe and mood to dancefloors just in time for sunrises. Loopy, hypnotic, and incredibly housey!

The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies