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Fuenf Typen, zu viele Instrumente und ehrliche Geschichten im bayrischen Slang. Geschichten wie Bilder von Kindheit, Frauen, Bier und Gemüsebrühe, von Emanzipation und vom Aufbruch ins Unbekannte. Da sind Lieder, die der ganzen scheiss Welt den Mittelfinger zeigen andere, die sie mit einem schulterzuckenden "Jamei!" umarmen. Und über alldem der Klang der sanften Brise des stillzirpenden, rauschenden, endlosen Oberpfaelzer Hinterlands. Im Versuch die Welt in Musik zu fassen entziehen sich die "Widersacher aller Liedermacher" lieber einer kategorischen Einordnung und manövrieren zwischen Folk, Rock und Jazz, zwischen Hip-Hop und Klassik in einer zügellosen Freiheit, die irgendwie 60er-Jahre-Woodstock-Vibes durch den Hypophysenlappen wabern laesst.

Glasgow septet The Joy Hotel are announcing their debut album Ceremony with the release of its lead single, the surging and rapturous 'Jeremiah'. It’s a song that grapples with the idea of approaching unknowns, and how conflicting attitudes illicit different responses to the same situation. More directly, it’s about staring death in the face and choosing how to come to terms with it.

Newly signed to SO Recordings and with a debut album proper in hand, The Joy Hotel have become a word-of-mouth success story in the Scottish DIY scene, and have since taken their live show across the UK and Europe, playing festivals including Hidden Door, Doune the Rabbit Hole, Connect, TRNSMT, Twisterella, Latitude, Sound City and The Great Escape.

The band spent eleven days at Rockfield, the legendary studio in Monmouth, Wales, recording live-to-tape. When they left, they had a sound. It is often contradictory, in that it combines the songwriting sensibilities of pop and country with arrangements reminiscent of the psychedelic scene of the 60s, six-part vocal harmonies with elements of noise rock, beautiful balladry with a sense of humour, and a cinematic quality. The result of those eleven days is debut album Ceremony, a record that searches for the profound in the seemingly routine, and reaches out with arms wide open to wring celebration out of each moment.

Ceremony will be accompanied by a short film documenting the creation of the album called ‘Come The Ringing Bell’.

The Big Picture is the 2014 studio album by Kat Edmonson, who calls her music vintage cosmopolitanism pop. For the recordings of this album, she collaborated with acclaimed producer Mitchell Froom (Crowded House, Suzanne Vega). On The Big Picture, according to NPR, “she's a savvy student of '60s film soundtracks, jazz-pop stylists and Brill Building songcraft, nodding to her influences at every turn. But her take on those stylized musical languages is so fresh and fluent that the referencing never feels cumbersome."" The album features standout tracks “Rainy Day Woman”, “Oh My Love”, and “You Can’t Break My Heart”, which remain fan-favourites to this day. The Big Picture is available as a 10th anniversary edition of 500 copies on white & black marbled vinyl.

Sonor Music Editions presents this restored issue of Maestro Sandro Brugnolini's Overground. This elusive masterpiece in library music captures the most impressive work, alongside Underground (1970), of the Italian composer and alto sax player.

Sandro Brugnolini was a prominent member of the Modern Jazz Gang, a famous Italian jazz group, during the 1950s and 60s, which also included Amedeo Tommasi, Cicci Santucci, and Enzo Scoppa. The group was active from 1956 to 1965 and produced some remarkable albums such as Miles Before And After (1960) and the original soundtrack from Gli Arcangeli (1962), which featured the renowned American jazz singer, Helen Merrill. Subsequently, he recorded many of the genre's most iconic releases, including Feelings (1974), albeit uncredited, and ventured into Psychedelic Lounge Funk and Progressive Jazz Beat tunes.

Overground was released on Sincro Edizioni Musicali in 1970 as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione, commissioned by Ente Provinciale Per Il Turismo Di Trento, a local tourism board in Italy, with music composed by Sandro Brugnolini and Luigi Malatesta featuring some of the best musicians in Italy at the time like Angelo Baroncini and Silvano Chimento on guitars, Giorgio Carnini on piano and organ, Enzo Restuccia on drums, and Giovanni Tommaso on bass and effects. The music spans from underground Psychedelic Prog. Rock with swirling organs, trippy effects, and distorted fuzz guitars to sophisticated Lounge grooves with Avant-garde orchestrations.

The music has been transferred and remastered from the original master tapes. It has been lacquer cut in stereo by Jukka Sarapää at Timmion Cutting and packed in a thick cardboard sleeve featuring a fully restored painting by Umberto Mastroianni licensed by Centro Studi dell’Opera di Umberto Mastroianni

LIMITED INDIES LOSER EDITION PRESSED ON BLUE TRANSPARENT VINYL! Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful." While not exclusively a confessional artist, Stella is always intimate - when she sings, it's personal. She writes "about things I feel passion for. Stories about me, about others, about all that's there in love and war." Stella was "in a very emotional state at the time, which came through in the lyrics and vocals." And it's true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it's the lyrics that feel key. Across her output, Stella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record's erotic arc. By the end of the album, Up and Away's core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can't always understand or control. Love is like this record: when it's over, you still feel it for time to come.

Zur Feier des 40-jährigen Jubiläums wurde die Studioversion von ”The Lexicon of Love” von ABC in den Abbey Road Studios als Half Speed-Version neu gemastert! Das Album enthält einige seltene Tracks und Konzertauftritte, die noch nie zuvor auf Vinyl veröffentlicht wurden! Diese Neuauflage von ”The Lexicon Of Love” wird als 4LP+BluRay und auf schwarzen Vinyl (Half Speed Master) am 04.08 veröffentlicht.

Spätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

Reflection is also-ran late-'60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King's "You'll Never Know," in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn't put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band's competition in the genre. The expressive qualities of Kieran White's voice, though, are limited, as though he's being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; "Down the Highway" sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, "Windmill" and "Autumn Song," which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late '60s, again with prominent flute. ~ Richie Unterberger

Blue Note 1963 - Classic Vinyl Reissue Series Lee Morgan’s magnum opus The Sidewinder — recorded in 1963 and release in 1964 — was both a comeback and a coronation. The prodigious trumpeter had debuted on Blue Note in 1956 at the age of 18, but personal problems in the early-60s forced him off the scene temporarily. His rebound recording turned out to be The Sidewinder, an assured and energetic set of 5 indelible Morgan originals featuring tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. The album became his biggest commercial success fuelled by the irrepressible title track.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

Introducing X-Ray Ted's debut album 'Moving On', a testament to years spent honing his craft and refining his signature sound. Seamlessly blending Funk, Soul, Hip Hop, Beats and Breaks, X-Ray Ted delivers a collection that encapsulates his diverse influences as both a producer and turntablist who is endlessly crate digging for hidden gems. From the infectious opening guitar riff to the final beat, it is clear that 'Moving On' promises an experience that is as engaging as it is dancefloor focused. Each track showcases X-Ray Ted's innate ability to re-interpret vintage sounds from decades past, offering listeners something that is both alluringly familiar and refreshingly new.

X-Ray Ted is not alone in creating his musical vision. He is joined by Hip Hop royalty in the form Jungle Brother's Afrika Baby Bam, Jurassic 5's Fullee Love (AKA Soup), and UK MCs Dr Syntax and Professor Elemental. Adding soulful depth and irresistible hooks to the mix are the vocals from fellow Bristolian Carys Abigail. Together, they effortlessly bridge the gap between retro 60's vibes and contemporary beats, creating something that is truly timeless, celebrating the past while embracing the future.




d 04: Get out the House (Dirty Version) feat. Afrika Baby Bam

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Shrine is the 1986 debut solo album by the British soul vocalist Dee C. Lee. She enjoyed a prolific solo career in the mid-1980s in parallel to her role as vocalist in The Style Council. Dee enjoyed huge success with the '60s-styled ballad ""See The Day"", which reached #3 in late 1985. In addition to this hit, the album also contains ""Come Hell Or Waters High"". For the first time, Shrine is expanded with an additional bonus LP featuring 8 non-album tracks, including ""Wow Wow Mix"", ""Shrine (Club Mix)"", ""Yippee-Yi-Yay! (Dub Mix)"" and ""Don’t Do It Baby (Remix)"". Shrine (Expanded Edition) is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl and includes an insert.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Limited Edition Pressing / 500 Units - Contains 10 Tracks Previously Unavailable On Vinyl.
The Early Seminal Songs of Willie Nelson.

“I’ll never be Willie Nelson. He’s the master.” Neil Young “Three chords and the truth - that’s what a country song is” Willie Nelson The breadth and scope of Willie Nelson’s career is staggering. He first established himself as part of a new generation of progressive country songwriters in the early ‘60s.
Here are the obscure and rarely heard demo recordings he made prior to signing to Liberty and before RCA.
All of these recordings are both musically and historically significant."

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley.

The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Alicia Keys released the Grammy Award winning, 'Girl On Fire' album in 2012. The album's title song and lead single, the universally acclaimed 'Girl On Fire', was a worldwide hit (600m plus streams), and the album also includes 'Fire We Make' (featuring Maxwell), 'New Day' and 'Brand New Me'. A x13 trk, double, Black LP Vinyl.

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

A journey, in 16 tracks, through the career of this pioneer band of the Latin American Punk 'n' Roll scene, active since 1987 and founded in the city of Quilmes (Argentina). Punk 77, Street Punk and Punk 'n' Roll on glorious vinyl and for the first time in Europe. DESCRIPTION Doble Fuerza is a pioneering band of the Latin American punk 'n' roll scene that has been active since 1987 (hence the title of the LP). Founded in the city of Quilmes (Argentina), south of the Buenos Aires metropolitan area, they have built their own recognizable sound, influenced by punk 77, street punk and punk 'n' roll. For the first time in Europe, on a long-playing record, on glorious vinyl, 16 tracks that represent a detailed tour through Doble Fuerza's 35-year career, remastered for the occasion. The result is most entertaining and activating. Primitive sonorities of angry young men doing street-punk without concessions in "Disturbios" Riots and "La Vida Se Va" Life Goes, give way to heartfelt street love in a hard-power-pop vein ("¿Por Qué No Me Llamas?" [Why Don't You Call Me?], "Encontrarte" [Find You], "Sola" [Alone]) and Ramonesian essences in "Desocupado" [Unemployed]. And all of this leads to their personal punk 'n' roll sound with a Buenos Aires accent, i.e. punk-rock clearly influenced by punk 77 and the rock 'n' roll of the 50s and 60s. In "Leave Me Alone", "Anestesiado" [Anaesthetised], "Grito de Revolución" [Revolution Yell], "Almas Gemelas" [Twin Souls] and "Canción de Libertad" [Song of Revolution] you can sense some of the many bands of the three decades that are part of their wide musical background and that have served as teachers to forge their style. Nor do they forget the cheerful tavern hymns to sing loudly and to overcome the struggle and heartbreaks with good humor, "Otra Vuelta de Cerveza" [Another Round of Beer] and "El Rey del Fernet" [The King of Fernet]. The three covers of this collection deserve special mention. Three adaptations sung in Spanish that the quintet led by Hugo Irisarri makes totally their own: "Pibes de Barrio" (Cockney Rejects), "Laburando" (Cock Sparrer) and "Spanish Bombs" (The Clash). The accent may be different, but the situations, the sound references, the messages... become immediately familiar and recognizable. "1987" is a careful presentation letter on this side of the pond of the Argentinean band's wide repertoire that unites commitment, fun and enthusiasm in equal parts

In 2018 Diagonal Records released an intriguing, three track, hand stamped, white label
12” of dancfloor sampledelia by Shit & Shine onto an unsuspecting world. The lead track
on this 12” ‘You Were Very High’ turned a lot of heads and became a club oddity, being
played out by DJ’s around the world – and some movers and shakers have hailed the 12”
as “Shit & Shine’s best ever release.”
Now in 2024, as the original 12” has become a bit of a collector’s item, trading hands for
£60+ on Discogs – Shit and Shine and Rocket Recordings have decided ‘You Were Really
High’ deserves a one off repress. This expanded version of the EP, which is housed in new
art and ltd to only 300 copies, also features a mighty extra track called ‘Dave, Have You
Ever Been To London.

Vengaboys is one of the most successful Eurodance acts in the world. With a string of global top 10 hits, including ‘Up & Down’, ‘Shalala Lala’, ‘We Like To Party’ and the UK No.1 singles ‘Boom, Boom’ Boom Boom!’ and ‘We’re Going To Ibiza’ they dominated the charts in the late 90’s and early 00’s. These songs have also been embraced by younger generations, with several global viral TikTok trends.

This brand new 14-track Greatest Hits compilation is pressed on transparent pink vinyl.

Der italienische Pianist Giovanni Guidi widmet sich auf A New Day wieder gänzlich dem frei fließende Zusammenspiel mit seinen Kollegen Thomas Morgan und João Lobo – die musikalische Partnerschaft des Trios reicht inzwischen bereits über ein Jahrzehnt zurück – und baut dabei die instrumentale Bandbreite der Gruppe mit der idiosynkratrischen Tenorstimme des amerikanischen axofonisten James Brandon Lewis aus, der hier sein ECM-Debüt gibt. Mit Brandon Lewis erweitern sich nicht nur die Möglichkeiten des Ensembles,
es erschließen sich auch neue Idiome und frische Perspektiven, die von nuancierter Kommunikation und Lewis’ unverkennbarem, selbstbewusstem Ton gezeichnet sind. Das Album wurde im August 2023 in den Studios La Buissonne, Südfrankreich, aufgenommen und von Manfred Eicher produziert.

Never before had the lyrics of Peruvian cumbia been able to touch the reality of migrants from the countryside living in the capital. In 1974, Grupo Celeste, under the direction of Víctor Casahuamán Bendezú, recorded 'En el campo', a first single that not only broke sales records, but also brought thousands of people into contact with their homeland. The band not only wove the nets of that urgent, necessary reconnection, but also gave birth to one of the most relevant popular singers in the history of Peru: Lorenzo Palacios Quispe 'Chacalón'. The year was 1974. Until then, only Los Destellos had recorded a non-instrumental cumbia song, 'Elsa', in 1970. Víctor Casahuamán Bendezú, a musician, creator and the composer behind Grupo Celeste understood that in order to continue the legacy of Peruvian bands from the sixties like Los Demonios de Corocuchay, Los Yungas and Los Demonios del Mantaro, it was necessary to address in his lyrics a special and urgent topic: the feeling of displacement from the homeland and the vicissitudes of the migrant sector. The experiences of those who traveled from the provinces to the capital in search of opportunities they could not find in their towns of origin; the process of settling and adapting in a foreign city; the challenges derived from this change of environment; the recognition of a different culture and the creation of a space they understood as their own were the stories that had to be told in the songs. This is why Grupo Celeste was the backbone of cumbia in Peru: it established a common story that thousands of migrants would identify with. From this idea and impetus was born 'En el campo', the band's first single.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

"Den Bildschirm zur Verbrechensbekämpfung einzusetzen, das, meine Damen und Herren, ist der Sinn unserer neuen Sendereihe Aktenzeichen XY Ungelöst, die ich Ihnen heute vorstellen möchte." Mit diesen Worten begrüßte Eduard Zimmermann am 20. Oktober 1967 die Zuschauer des Zweiten Deutschen Fernsehens. Es war die erste Ausgabe eines neuen Sendeformats das, so weiß man heute, (Fernseh-)Geschichte schreiben sollte.

Die Idee zu diesem Projekt kam der Tramp Mannschaft, wie so oft, eher zufällig in den Sinn. Es war Ende der 1980er Jahre, als wir zum ersten Mal Eduard Zimmermann am Bildschirm bestaunten. Damals war offensichtlich nicht die Musik ausschlaggebend, sondern das Gesamtpaket XY. Zum einen der sachliche Moderationsstil des Protagonisten, zum anderen die spannenden, jedoch immer behutsam produzierten Filmbeiträge von Kurt Grimm. Die XY Fan-Gemeinde ist sich einig, dass durch seine außergewöhnliche Regiearbeit der filmischen Rekonstruktion der Fälle maßgeblich zum Erfolg von XY beigetragen hat. Des Weiteren waren es die Sprecher der Filmbeiträge, allen voran Wolfgang Grönebaum, der zwischen 1967-1989 mit seiner markanten Stimme des öfteren für Gänsehautmomente bei den Zuschauern sorgte. All das würde aber ohne die passende Begleitmusik nicht funktionieren. Und so ist das letzte Puzzlestück welches XY den Kultstatus einbrachte die Kompositionen die für die Filmbeiträge benutzt wurden.

Nun fndet sich auf dieser (Bio*-)Schallplatte aber keineswegs Musik von XY aus den 1980er Jahren. Wie ihr wisst schlägt das Tramp Herz, bis auf wenige Ausnahmen, für die Musik der '60er und '70er. Als wir vor einigen Jahren auf XY-Folgen der Anfangszeit stießen war schnell klar: da muss eine Schallplatte her! Und genau diese kann man nun als Resultat unserer Leidenschaft in den Händen halten. Längst überfällig möchte man meinen. Ein besonderer Dank geht hierbei an den Komponisten Ernst-August Quelle aus dessen Hand alle Titel auf diesem Album stammen.

Eduard Zimmermann hat mit Aktenzeichen XY... Ungelöst Fernsehgeschichte geschrieben. Wir, die Tramp Crew, ist mehr als stolz ihm und seinen Fans mit dieser Schallplatte ein Denkmal gesetzt zu haben. Gern geschehen.

*Die LP stellt die erstmalige Veröffentlichung aller Titel auf Tonträger dar und erscheint in einer limitierten, handnummerierten Auflage von 500 Stück, gepresst auf BIO-VINYL (Ersatz von Erdöl in S-PVC durch Recycling von u.a. Altspeiseöl =>100% CO2-Einsparung), mit einem Text von Peter Hohl, der zwischen 1967 und 1979 engster Mitarbeiter Eduard Zimmermanns war.

Warehouse Find!

Graham Keith Gouldman (geboren am 10. Mai 1946) ist ein englischer Sänger, Musiker und Songschreiber, der vor allem als Co-Leadsänger und Bassist der Art-Rock-Band 10cc bekannt ist. Nicht viele Musiker können die größten britischen Gitarristen aller Zeiten und den bekanntesten Schlagzeuger der Welt für ihr Soloalbum gewinnen.
Aber der legendäre Sänger, Songwriter und Hüter der 10cc-Flamme Graham Gouldman hat im Laufe seiner 60-jährigen Karriere einige
bahnbrechende Freunde gefunden. Unter anderem haben Brian May, Hank Marvin, Albert Lee und Ringo Starr zu Gouldmans kommendem sechsten Soloalbum I Have Notes beigetragen.

I Have Notes bietet eine breite Palette an musikalischen Stilen und Texturen, die die Vielfalt von Gouldmans Katalog widerspiegeln. Von der choralen Eröffnung I'm Not In Love, der wortwörtlichen Weltraumballade Floating In Heaven (mit Brian May), dem erhebenden Country-Stomp von We're Alive, über den liebenswerten romantischen Walzer von When You Find Love (mit Hank Marvin), und der überschwänglichen kindlichen Freude von Play Me, dem frechen, festlichen Swing von Christmas Affair (mit Beth Nielsen Chapman) bis hin zum Abschlussstück der Seite A dem unverhohlen von den Beatles inspirierten Couldn't Love You More (mit Ringo Starr).

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

Wie Reckoning ist auch Dead Set ein Live-Album, das
während der ausgedehnten Aufenthalte der Dead's in San
Francisco und New York im Herbst 1980 aufgenommen
wurde. Es wurde auf analogem 32-Spur-Band
aufgezeichnet und klingt so großartig wie damals im
Warfield und in der Radio City Music Hall, als die Musik
live gespielt wurde. Gefüllt mit zahllosen Grateful
Dead-Klassikern, von denen die meisten noch nie auf
einem Live-Album der Band erschienen sind, darunter
neuere Songs wie "Feel Like A Stranger" und "Little Red
Rooster", Klassiker der 1970er Jahre wie "Samson and
Delilah", "Fire On The Mountain", "Franklin's Tower" und
"Passenger" sowie ein Trio von American Beauty-Songs
aus dem Jahr 1970, "Candyman", "Friend Of The Devil"
und "Brokedown Palace".
- David Lemieux, Grateful Dead Legacy Manager und
Audioarchivar