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Gwendoline werden nicht gern in Schubladen gesteckt. Wir tun es dennoch: Nu Wave with wit, Synthwave with edge, Postpunk with Pop. Als wenn Benjamin Biolay Molchat Doma vorstehen würde, ,I'm Not In Love" (Chrystal Castles) auf ,Anyway" (OTO) trifft, Ladytron mit DAF in den Urlaub fahren würden. Seit 2017 verfolgt das social medial scheue Duo Micka (a.k.a. Mikoune) und Pierre (a.k.a. Daniel) im eher verborgenen ihre Cold Wave-Vision. Das Debut wurde in reinster DIY-Manier zu Hause im Keller aufgenommen und ohne Umschweife in kurzer Zeit produziert. Lange Zeit gab es kaum was zu Gwendoline zu googlen, aber an den Kennnern ist es natürlich nicht vorbeigegangen. Das spanische Label Dead Wax Records fand das so super, veröffentlichte digital und sehr limitiert auf Vinyl, ein Reissue gab's auf bandeigenem Label 2022. Nun sind sie bei Born Bad gelandet und dabei in bester Gesellschaft mit Vox Low, Frustration und Bracco. Was macht Gwendoline einzigartig? Sicherlich ihre Wut und gleichzeitige Zurückhaltung, die sie mit Selbstkritik, Ironie und Humor vermischen, was sich in den Texten wie auch im Sound wiederspiegelt. LP-Version in klassich schwarz mit Download Code und Digipack-CD.

Several unique features set the debut studio album by folk rock supergroup Crosby, Stills & Nash, released in 1969 by Atlantic Records, apart. It's the only album by the band before adding Neil Young to their lineup. The album spawned two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at No. 28 during the week of August 23, 1969, and at No. 21 during the week of December 6, 1969, on the U.S. Billboard Hot 100. The album itself peaked at No. 6 on the U.S. Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales in excess of 4 million copies.

Instantly lifting the group to stardom, along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink, the previous year, the album is cited by music reviewers for initiating sweeping changes in popular music. In 2021 the album held the rank of No. 161 on Rolling Stone's 500 Greatest Albums of All Time list.

Crosby, Stills & Nash was "the perfect blend of David Crosby's social conscience, Stephen Stills's virtuoso musicianship and Graham Nash's ability to craft the perfect pop melody for radio," writes Rolling Stone, in its review.

The band was brought together after Crosby was fired from The Byrds, Stills's band, Buffalo Springfield had broken up (a band which also featured later member, Neil Young) and Nash's departure from The Hollies. The three decided to form a band after an informal jam led them to discover how well their voices harmonized. Released in May 1969, the band would perform nine of the album's 10 songs at Woodstock, which was the second time they ever did, in August of the same year.

The album features some of CSN's most well known and iconic songs; "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere," "Wooden Ships," "Helplessly Hoping" and "Long Time Gone." This album saw a shift in sound to what was popular at the time — blues based rock, opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the ‘70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record.

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

Nach dem Erfolg von We'll Bring The House Down aus dem Jahr 1981 setzten Slade mit Till Deaf Do Us Part ihren neuen Aufschwung fort. Mit der Single Lock Up Your Daughters sowie anderen Tracks, die im Laufe der Jahre zu festen Bestandteilen des Slade-Live-Sets wurden, darunter "Rock and Roll Preacher" (der zum neuen Opener der Band wurde) sowie Ruby Red und Knuckle Sandwich Nancy.Die LP erscheint in limitierter Auflage auf weiß-schwarzem Splatter-Vinyl, während die CD einen Bonus-Radio-Edit von "Rock and Roll Preacher" sowie erweiterte Booklet-Notizen enthält.













[m] 13. Funk, Punk & Junk [CD Bonustrack]

Following her contribution to this Spring’s Gudu & Friends Vol. 1 compilation, Lady Blacktronika steps out with a full EP for Peggy Gou’s Gudu label.

Whether operating as Lady Blacktronika or her Femanyst alias, Akua Grant has built a deserved reputation as one of house and techno’s most daring and unique artists - one that dates back 25 years now, when she first debuted as a vocalist.

“House and techno” can be a cliched catch-all term, but in Grant’s case, she really has explored the extremes of both sides. Her early Lady Blacktronika work, when she earned the nickname The First Lady of Beatdown, saw her produce and narrate a style of deep house that was both sensitive and transgressive, while as Femanyst, she explores some of techno’s darkest corners, all distorted kicks and serrated edges.

Her EP for Gudu kicks off with some serious intent: ‘Baby I Got It’ chops its vocals rough and raw, pairing them with marching drums and the sort of idiosyncratic synth-work that feels like a Blacktronika signature at this point. ‘Sing the Blues’ and ‘Hold My Hand’ take things smoother, but without ever deferring to type — as ever with Grant’s music, she works with such sleight of hand that it’s easy to skip back three minutes previous and wonder how the hell we got here. Her tracks are just that hypnotic and hallucinatory.

Closing the EP, Octo Octa provides a remix of ‘Hold My Hand’ that extends things to a full 12 minutes (note: slightly shorter on the vinyl due to time constraints), taking us out with crushed percs and held pads over some undeniable drum work.

This EP marks the final release of Gudu’s busiest year to date, with music on the label in 2023 coming from Special Request, Matisa, Mogwaa, Hiver, Matrefakt, DMX Krew, Dukwa, Brain de Palma, Lady Blacktronika, Salamanda and Closet Yi.

Kurz nach dem sowohl von der Kritik wie auch vom Publikum warm aufgenommenen fünften Album "The Pitcher" erschienen zum Record Store Day 2014 zwei unveröffentlichte Tracks aus derselben Session: "The Painted Bird" (Singleversion) und "The Lady Came From Baltimore". Das gute Stück ist auf 500 Exemplare limitiert.

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

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

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

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

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

Roberto Agosta, or just Agosta as he likes to be called, is a Sicilian DJ and producer from Catania active all along the eastern coast of Sicily, a place that proved to be a soulful place and a training ground for a long career, making him an excellent music selector and a reference point in the spread of alternative music.

A soundtrack music enthusiast since he was a child, now a vinyl "serial gathere", Agosta has always put his vast knowledge at the service of a very personal sound that sums many different music styles and contaminations, simple and profound but straightforward and direct at the same time.

Agosta’s eponymous album, released on LP, CD and digital formats, was conceived during the Covid-19 lockdown, thanks to the precious collaboration of friend DJ and producer Massimo Napoli aka Galathea, with whom Roberto has already started another project called AN-AN that will produce a new record for Space Echo at the end of 2022.

This record highlights a typical chill-out aesthetic, thanks to its trip-hop and ambient rhythms and atmospheres, while a deeper exploration reveals the psychedelic essence of the entire work, a daring and exciting journey in the most primitive Sicily, and the energy that sustains all of its ten tracks.

Much of their author and his lifestyle - mainly based on meditation, the search for spiritual elevation, the relationship with nature and the regaining of contact with those particular places and with the people who live there - is revealed by those tracks that constitute a soundtrack for this spiritual but also extremely physical journey.

The song titles are, in fact, intrinsically linked to Roberto’s real life: the Gorna and Ilice mountains at the foot of Etna, the Carricante vineyard and its excellent wine, Unna, Three Chestnuts, Varanni, Don Alfio, Lady G. Each of them represents a pleasant and dreamlike narration and the escape from the complex dynamics of a city like Catania, among echoes of the most dreamy Pink Floyd, the softer side of ’70s krautrock, but also the Massive Attack and Tricky’s Bristol scene.
There’s also an excellent choice of synthesizers and overdubbed guitars, thanks to the talent of the multifaceted musician and producer Salvo Bruno Dub, and of Manuela Amalfitano, Loredana Poidomani and Deran Obika’s voices.

Agosta is an introspective, deep work with a cinematic vocation, perfectly rooted in the territory where it took shape, among sunny landscapes, lush with vegetation but also deserted and arid lands. From Sicily to the cosmos... enjoy!

Das 4. Remaster der Serie um den australischen Singer-Songwriter Robert Forster.
Erstmals erscheint Beautiful Hearts“ hier mit Bonusmaterial auf Vinyl im Gatefold mit zusätzlicher 7".

One year after his surprising debut, Agosta, the Catania musician-non-musician and Space Echo Records return to the point with “Reworks and Remixes”. Which from the very title disengages itself from the industrial 'album+remix album' chain and on listening reveals itself to be a record capable of moving, in total autonomy from its antecedent, on three different levels of reading. For, at its base, we would say, there is a much more stimulating idea than the simple compulsion from alternative versions, b-sides and so on.

Point 1, transfiguration. Because, contrary to the genre stereotype, the remix mode allows songs to express themselves in creative and experimental ways.

Point 2, the Rorschach Test. Because, on those songs, there is the personality, that is, the result of the cross-vision with experience, of the individual producers being measured against itself.

Point 3, the stage backdrop. That is, its ability to show a cross-section of the current electronic scene in Etna.
Agosta wanted some of the pillars of Catania's black-minded electronic scene with him and, together with them, reinterpreted songs from his first album. The result is a work that is as multifaceted, in terms of the specific weight of the artistic individualities involved, as it is homogeneous, in their idea of a sound that is as physical as it is mental and, above all, in terms of a totally Mediterranean underlying taste with which every single track is imbued.
Whether it is the pensive house of “Apple 65” or “Lady G” (Butterfly Agosta's Rework) as much as AN-AN's dub on “Varanni”, between Grace Jones and Adrian Sherwood, or Galathea's more psychedelic and twilight Trip-Hop on “Three Chestnuts”. The Shaft-esque swagger of Salvo Borrelli and Reverend James, the donwnbeat pop of “Cellars” by Go.Soul.Map. and the caress of “Hearing The Call” (Lady G In A Rainy Day Version) by The Invisible Session, in which spoken and what they once called nu jazz flirt.

Don’t Miss It!!!!

"Stop the World" is another captivating song released in 1984 by Eyes Records, written by three names who certainly need no introduction. Ivana Spagna, Larry Pignagnoli and Ottavio Bacciocchi. However, their artistic depth and their fundamental contribution to Italo-Disco (and not only) in their respective roles should be remembered: Ivana, an excellent lyricist and singer (also for third parties) who became the great pop star still today considered the most graceful in circulation; Larry, who deserves a handful of Grammy Awards for his countless arrangements (but it is enough to mention "Easy Lady" and "Call Me") and finally the modest and precious Ottavio with his excellent Studio Master 33 from Cremona, among the first to find the right sound of Italo-Disco already in the early 80s.. Their contribution then married perfectly with the artistic direction curated by Salvy Lauria and Giacomo Danesi. It's worth highlighting the approximately 6 minute instrumental track of "Stop The World", it's a dance floor killer. Giuliano Saglia and Silvio Trisolino are right in wanting to re-propose only and exclusively the two original songs which after 40 years have been perfectly remastered by Dom Scuteri. Best Record is right to carry out all the work of this wonderful jewel, after having already reissued Blue Gas, Future State and Lily Ann, the other praiseworthy productions of the reborn Milanese label. Aficionados do well not to miss this other reissue of an Italo Disco classic from the 80s !!!

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called Bubblegum Punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Hear the phenomenon for yourself.

red marbled vinyl

After early work with Lady Gaga, Lady Starlight immediately entered techno's upper echelons playing live alongside Surgeon, earning the respect of one of the genre's most legendary hard asses, no small feat for an artist only then emerging. Forming a strong alliance with Len Faki's Figure reinforced her upward trajectory, so it's with considerable stature we introduce 'Choose', her first full solo EP since 2020.

'Choose' makes its choice from the beginning when the mutated, squealing vocal sample and insistent percussion command dancers to the floor. She adds sophistication with melodic ideas, quick breakdowns, and constantly shifting drums, the instability maintaining momentum. 'Permian-Triassic' could refer to earlier eras of techno Lady Starlight seeks to bury, although droning pads poke out of her deep soundscapes like fossils from the 90s framed elegantly. Excited like its title, 'In a Tizzy' centers its nervous energy around a seesawing motif until it breaks apart halfway through, then rides it into oblivion on top of rapid-fire drum fills and a return of the theme. The title track closes in the darkest mode, its tricked-out breakbeat evading dancer's expectations and the heavily-processed noises squalling in the background providing no respite.

The Chronicles Of Father Robin ist eine norwegische Prog-Rock-Supergruppe, deren Mitglieder von den norwegischen Symphonie-Prog-Masters Wobbler, den immer undefinierbaren Tusmørke, den erfahrenen Post-Rockern The Samuel Jackson Five und dem schwer fassbaren Prog-Juwel Jordsjø stammen. 'The Songs & Tales Of Airoea', an dem seit 30 Jahren gearbeitet wird, ist ein zusammenhängendes Dreifach-Konzeptalbum mit insgesamt 18 Songs, die über einen Zeitraum von drei Jahrzehnten in einer alternativen archaischen Welt angesiedelt sind. Die erste beiden Alben, 'Book I' & 'Book II', erscheinen nun als CD und LP. Durch lange Jam-Sessions und fein abgestimmte Arrangements entwickelte die Band ein fortlaufendes System, in dem jeder Song mit den anderen verknüpft ist. Ganzheitliche Impulsivität und Ideen, altruistische Freundschaft, Musik, Fantasien und ein schlüssiges Konzept.
Beginnend mit dem sakralen und atmosphärischen Over Westwinds führt 'Book II' weiter auf eine dynamische musikalische Reise durch üppige und abwechslungsreiche Klanglandschaften, die Visionen der goldenen Ära des Progressive Rock hervorrufen. Mit dem geschmackvollen Einsatz verschiedener Instrumente wie Flöte, Mellotron und Glockenspiel und alles verpackt in einer dynamischen und organischen Produktion, sind beide Alben Juwelen, die es für jeden Fan von Progressive Rock zu entdecken gilt.
'Book III' erscheint hoffentlich zeitnah.

Four essential cuts from Ghana & Cape Verde, compiled by Arp Frique...

Music is a great connector, bringing people together in many ways. On his journey in music so far, Arp Frique has been fortunate to meet many beautiful artists. The songs on this first edition of "Radio Familia" are deeply connected to the musicians he performs with. Join the music family on a trip through exciting sounds from Ghana and Cape Verde and listen to their story in both words and music.

Arp Frique never played a show without including Americo Brito’s epic song “C’est Dudu”. The song originally appeared on his album “Fidjo Di Mizeria” from 1989 but he had been performing his anthem for years and it came in many shapes and forms. After spending a lot of time in Paris, he (like many others in those days) got inspired by new records from Guadeloupe and Martinique, especially “kadans”. Incorporating latin piano motifs borrowed from salsa and merengue and a bold choice to sing in French, the song and album became an instant success for Americo in and outside the clubscene (note: DJs were not the primary source of dance music in those days, bands played all night to keep the dancers moving). The addition of C’est Dudu to this compilation became especially relevant since Americo recently passed away. Fortunately, his anthem just like all his other music will remain with us for decades to come.

While going through the archives with Americo Brito for the Radio Verde compilation, he introduced Arp Frique to a band called Imilux Star, of course again well connected with Americo. This Cape Verdean band residing in Luxemburg (where there is a substantial Cape Verdean community) definitely added a different flavor to the musical pallet the islands are famous for: heavy syncopated rhythms coming from the drum computer. They released two albums which both became very popular in their scene and the track “Yolanda” from their 1988 album “Jota Dê” got to Arp Frique’s attention too late to add to the Radio Verde comp. The band is still performing to this day in the Luxemburg-Cape Verdean live circuit.

While Arp Frique was on the road with his lead singer Mariseya, they talked much and deep about Ghanaian music (especially highlife) and he learned a lot about the community from Ghana in the Netherlands, mostly in Amsterdam and The Hague. Mariseya’s dad, Nana Adomako Nyamekye, came to see their liveshow while in the UK which was very special to them considering he is one of the highlife artists Arp Frique has grown to be very fond of. His deeply funky and bubbly bass driven song “Obra Twa Owuo” is about life and death, telling us we should all love each other as we still have life to live. Originally released on “Ano Plan” from 1982, the album is filled with philosophical advice. In his own words: “A message to all humans that something awaits us all at the end of life. Let’s live together with love.

Bnnyhunna, from the Ghanaian community in the Netherlands, joined Arp Frique’s live experience several times playing keyboards and synthesizers. His dad Elvis Kwasi Ankomah, just like him, developed a high level of musicianship while performing regularly in church. The song “Fa Wokoma Mame” (give me your heart) from his only studioalbum “Mfa Menko” released in 1995 is about showing his love to a lady but only if she puts her trust in him completely. The album talks about love, pain, relationships and life. Having worked with artists like Daddy Lumba, Nana Ampadu, Amakye Dede and many other hiplife and highlife legends, he still plays in church every week and has been doing so ever since he was 15 years young.

70's Movie Hits Collected is a compilation of Coloured Vinyl, High Quality, Insert 33 pop tracks released as 2-LP on 15 Dec 2023. 70's Movie Hits Collected includes a.o. the following tracks: “Giorgio Moroder - Chase (from "midnight Express")”, “Mick Jagger - Memo From Turner (from "performance")”, “Mike Oldfield - Tubular Bells (from "the Exorcist")”, “Isaac Hayes - Theme From "shaft" (from "shaft")” and more.

NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

Last year, South Korea’s Extra Noir asked “What links a mall Santa in Singapore with British Prime Minister Rishi Sunak? Scottish bard Robert Burns and Tales from the Crypt? What connects a cry for love in the industrial heart of Seoul with Algernon Blackwood spiking a batch of eggnog?”

The answer, of course, was their Christmas charity compilation, Noël Noir. This holiday season, the label has combined some of the best selections from that release with new contributions for a limited-edition cassette. The year’s hottest stocking stuffer contains wintry atmospherics and seasonal spooks from JD Twitch’s ambient alias Tomorrow The Rain Will Fall Upwards, Salamanda (Human Pitch, Wisdom Teeth), Xander Harris (Rock Action, Not Not Fun), Jaeho Hwang (Chinabot), Heejin Jang (Doom Trip) and more.

Re-release All the greatest Jazz Legends in a 3LP boxset. From Nina Simone to Louis Armstrong, from Miles Davis to Billie Holidai, they are all there!

Die Doppel-LP folgt auf vier Live-Alben der Band, die seit Anfang des Jahres veröffentlicht wurden und mit Gästen wie Kelly Doyle, Ruben Moreno, The Suffers und Robert Ellis im Stubb's in Austin, Nubya Garcia im Radio City in New York, Men I Trust im RBC Echo Beach in Toronto und Toro y Moi im Fillmore in Miami aufwarten. Khruangbin sind bekannt für ihre Verbindung von Klängen aus aller Welt - darunter "eine Mischung aus R&B, Reggae, Surf-Rock, Melodien aus dem Nahen Osten, persischen Phrasierungen, lateinamerikanischen Rhythmen, Hip-Hop der 90er Jahre, westafrikanischer Instrumentierung, ätherischen Harmonien, psychedelischen Effekten und rumpeliger Disco" (Vanity Fair). Das Trio war mit zahllosen Welttourneen unterwegs und stand auf fast allen großen Festivalbühnen der Welt, darunter Glastonbury, Primavera und Coachella.

Bangalore-based brotherly duo Ashwin and Ashrith Baburao combine as Audio Units on a potent new EP for Lady Tazz's Mind Medizin, featuring remixes from Ben Sims and Temudo.

Obsessed with quality, soul and futurism, Audio Units have vast experience of DJing worldwide and real studio know-how. Each of their tracks is a perfect blend of intricacy and experimentation, and they have turned the heads of tastemakers on labels like Dutchie Music, Deep Edition Recordings and Sinnmusik.

They open this high-octane EP with the raw and unrelenting drum funk of 'Aristotelian Tradition', which is run through with warped synths and carefully layered up with gritty percussion and FX. Vocal snippets and smeared pads further flesh out the groove, making for an uplifting sound. Machine party and label head Ben Sims is a UK techno heavyweight at the forefront of the scene. His remix shows that as it ups the percussive energy and allows the synths and vocals more prominence with hypnotic effects.

The second original, 'I'm Just All You Need,' is a twisted and intense mix of fragmented vocals and pulsing synths over vast rock-solid kick drums. It's an urgent track that cannot fail to sweep the floor off its feet and keep it locked for the ride. Next is a remix from new school tastemaker Temudo, who has already put out outstanding records on labels like Klockworks, Soma and Modularz. His version of 'I'm Just All You Need' strips it back to icy hi-hat loops and buffed metal synth lines that weave in and out of the minimal yet tribal techno drums

The ‘Aristotelian Tradition’ EP is another superb release from Mind Medizin that combines the dark and kinky allure of techno with all-out dance floor dynamics.

Repress!

Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.

Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .

Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease.

Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs

The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.

With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.

BERTUS DISTRIBUTION INTRODUCES NORTH SEA JAZZ CONCERT SERIES

Bertus Distribution, in collaboration with NTR, AVROTROS and MOJO, presents a new vinyl series consisting of live recordings of legendary artists through the decades made at the renowned North Sea Jazz Festival.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk.

For the first release in this series, the honour is given to one of the most famous jazz singers ever, Ella Fitzgerald. On Friday 13 July 1979, she gave a raucous and peerless performance at the festival then still held in The Hague. The "First Lady Of Song" worked her way with verve through standards like 'There Will Never Be Another You', 'Satin Doll', ''Round Midnight' and 'Mr Paganini'. Her accompanists that night were Paul Smith on piano, Keter Betts on bass and Mickey Roker on drums; a trio line-up with the power of a big band.

Future releases will include NSJ recordings by such notables as Dizzy Gillespie, Buddy Rich, Ray Charles, Dexter Gordon and Jan Akkerman. It will be a long-running series with the aim of releasing the most extraordinary NSJ performances on vinyl.

The first edition of the North Sea Jazz Festival took place in 1976 at The Hague’s Nederlands Congresgebouw with some 9,000 visitors. In the first year, jazz legends such as Sarah Vaughan, Count Basie, Dizzy Gillespie and Stan Getz performed alongside a host of artists from the Dutch avant-garde.

The festival, officially NN North Sea Jazz since 2018, has now developed into a major international event that is also known beyond the Dutch borders as an event where jazz from the past, present and future merges with other genres such as blues, soul, funk, hiphop, pop and more. Over the years, it has grown to fifteen venues, around thirteen hundred musicians and an annual audience of between eight-five and ninety thousand. Since 2006, the festival has been held in new wider venue, namely Rotterdam Ahoy.

Er ist ein Star unter den Produzenten. Nun ist »der Mann, der die Achtziger erfand« zurück: Trevor Horn veröffentlicht Echoes – Ancient & Modern, elf legendäre Tracks in neuer, klangvoller Form. Das Album ist erhältlich mit einem Interview, das der britische Musikjournalist Paul Morley mit seinem langjährigen Freund und künstlerischen Partner führte.

Wie wählt man die besten Künstler:innen aus, um vertraute Songs in etwas Magisches und Neues zu verwandeln? Horn selbst singt den Roxy-Music-Klassiker »Avalon« und ist Produzent von Marc Almond, Tori Amos, Rick Astley, Andrea Corr, Steve Hogarth, Lady Blackbird, Jack Lukeman, Iggy Pop, Seal und Toyah Wilcox & Robert Fripp in Songs, die einst von Pat Benatar, The Cars, Depeche Mode, Frankie Goes to Hollywood, Billy Idol, Joe Jackson, Grace Jones, Kendrick Lamar, Nirvana und Yes gespielt wurden.

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, the craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, challenging expectations, and leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation. And his willingness to play fast and loose with the music gives way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

Paul Anka, born in Canada of Syrian parents in 1941, carved out a
career that’s so far spanned six decades, metamorphosing on the
way from teen heart-throb to seasoned performer. He enjoyed
success both as a singer and a songwriter, penning Put Your Head
On My Shoulder, You Are My Destiny, Diana and Puppy Love
along with the English lyrics to My Way, the signature song of
Frank Sinatra, as well as Tom Jones’ classic She’s A Lady. Enjoy
a touch of ‘Puppy Love’ and more from this master balladeer.

Baiana (pronounced By-Anna) is the alias of powerhouse Liverpool-born Brazilian jazz artist, Laura Doyle Following on from performances at Love Supreme, the Manchester Jazz festival, world famous jazz clubs The 606 and Pizza Express as well as an unprecedented 12 weeks on the A- list of the Jazz FM playlist, with her breakthrough single "Saudade Samba" Baiana's highly anticipated self- titled debut album is finally here. Produced by the legendary UK Latin percussionist, Snowboy, 'Baiana' features 11 finely crafted songs covering a huge range of Brazilian styles from fiery Sambas to Bossa Nova, Jazz Fusion to Baiao and everything in-between. Singing in both Portuguese and English, Laura evokes a vocal style reminiscent of the great romantic torch singers of the 40's and 50's such as Julie London and Peggy Lee and yet one can clearly also feel the passionate expression of Portuguese Fado and the Brazilian greats such as Elza Soares, Gal Costa and Elis Regina as she sings of love-lost and broken hearts. An unexpected candidate for Brazilian jazz with her Scouse accent and fiery red hair denoting her Irish roots, Laura became enraptured by Brazilian music after living in Rio de Janeiro where she was seconded as "first lady" with the Italian diplomatic service.

180g virgin vinyl limited edition of 750 copies only - the complete album + 3 bonus tracks Once billed as "Europe's First Lady of Jazz," Dutch singer Rita Reys (1924-2013) was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. The LP 'The Cool Voice of Rita Reys'(considered her best record ever) presents her backed on one side by a band led by her husband, drummer Wessel Ilcken, and on the other side by Art Blakey's Jazz Messengers in two manifestations of the band featuring Donald Byrd, Hank Mobley, Horace Silver, Kenny Drew, Wilbur Ware, and others.

'Elephantasia' is a glorious folk opus from 1972, long lost and attaining a legendary reputation for its candour and creativity, from the late Bangor-born singer/songwriter Dave Evans. Finally, the LP sees the light of day again via Earth Recordings, it is a true gem from the vaults of British folk history. For fans of Nick Drake, Bill Fay and Davy Graham - with a touch of Michael Chapman, Bert Jansch and Fahey for good measure. Dave Evans' story is like a Pinter play; he sailed the seas in the merchant navy, was taught guitar in a brief interlude by the "mythical" Morocco John, wound up sharing a room with Steve Tilston in 1963 when they attended Loughborough Art College and ran the local folk club, while learning to make stringed instruments, the art of wine making and ceramics. Over the next year, Dave got a domestic 2-track reel-to-reel tape recorder and experimented with its two speeds to produce the tracks 'Elephantasia' and 'Lady Portia'. He pulled in members of local prog band Squidd, including latter day Hawkwind member Steve Swindells on keyboards, John Merritt on bass and Rodney Matthews on drums, who also designed the 'Elephantasia' album cover, and went on to become a renowned fantasy artist. 'Elephantasia' the album was originally released in 1972, fully exposing Dave's finger picking style, lilting vocal and his dalliance with the tape manipulation. It sold around 2000 copies and over the years became a talked about rarity, deemed too progressive for folk, too folk for the new prog heads. In best plot-thickening style, Dave tried two more releases and then disappeared. The scant sleeve notes recounted the songs' creation, featuring tales of experimentation in sound inspired by elephants, old memories recounted with all of the unpleasant bits edited out, storylines for escapists, the residents of St Agnes Park, broken beauty queens and a fat feline. It's an eclectic but beautifully fluent narrative from a finger picking maestro with a warm and engaging vocal style that wowed Peel and Whispering Bob back in the day. Dave Evans sadly died in April 2021. Earth Recordings is proud to reissue 'Elephantasia' for the first time in over 50 years, in collaboration with his estate and original Village Thing producer Ian A. Anderson. "Cult status guaranteed." Uncut. Classic Black Vinyl, DL card. CD Digisleeve.

Exclusive Ten Track Compilation Of Mungo Jerry In Original Mono Mix. Includes Previously Unreleased Versions Of All Their Major International Hits. ‘Mighty Man’ - Original PYE Records Test Audition Version. ‘Lady Rose’ - Previously Unreleased Mono Version. ‘Hello Nadine’ - Previously Unreleased Mono Version. ‘Alright, Alright, Alright’ - Unreleased Version Containing The Third Verse Missing From The Original Hit Single. ‘Long Legged Woman Dressed In Black’ - Unreleased Mono Version. ‘You Don’t Have To Be In The Army To Fight In The War’ - Acoustic And Harmonica Version. ‘Feels Like I’m In Love’ - Ray Dorset’s Original Demo Of Kelly Marie’s Global #1 Hit.

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

-Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970’s ‘Giallo’ film scores layered with luminous vocals.
-Ella Thompson's first solo LP release since Janus (2015).
-Ella is the vocalist from the electro duo GL and formerly frontwoman of The Bamboos.
-Music by Karate Boogaloo aka The Frollen Music Library.
-She will be opening for Lee Fields on his Australian dates in December.
-For fans of Kadhja Bonet, Cleo Sol, Nancy Sinatra, Lady Wray.
Ella Thompson’s Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970s Italian 'Giallo' film scores, with luminous vocals that draw a line between 60s icons like Nancy Sinatra and contemporary soul artists like Kadhja Bonet. Ella’s effortless singing and haunting lyrics paint angular pictures in the moody darkness.
The sparse production is intentionally cinematic, deeply influenced by the music of Italian ‘Giallo’ film scores of the 1970s, particularly by composers like Piero Piccioni but comparable to current artists like Adrian Younge or Bad Bad Not Good in a meditative mood. Minimal but propulsive bass and drums know when to hang back, as they do in the title track and when to step forward as they do in the chugging, deep and funky rhythm section work on the single Never Fight The Way You Feel.
All the instrumentation used in Domino was created by Frollen Music Library, a library music project by the musicians behind Karate Boogaloo, Henry Jenkins, Hudson Whitlock and Darvid Thor, all long-term collaborators and friends of Ella’s.
Ella returned to making music under her own name in 2023 after years of releasing music with her electro-pop duo GL and cult indie band Dorsal Fins. One of Australia’s truly accomplished singers, Ella’s range ranges from art music to cinematic soul, jazz, and pop. In addition to her solo project and bands, she has been a featured artist for numerous acts, most notably deep funk pioneers The Bamboos and Mark Ronson.

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist,
playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend,
Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz
entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz
saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing
professionally. He made a staggering 150 albums as a band leader over the course of his long and
storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette
Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden.
Between 1948 and 1950, he was a member of Miles Davis’ group, and participated in the recordings
that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse
All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar
songs. The intention was to “let the tunes happen” as only finely tuned jazz musicians of certain
experience can. Of note is “Lady Be Good” which finds Konitz and Rowles quoting Lester Young’s
solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album
has been remastered and is presented here as the artist intended, with its original title, track order and
album artwork, for the first time since its original release. Remastered by Alex McCollough at True
East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and long awaited professional triumph. The accolades the album has received since its release speak volumes. From performing on The Stephen Colbert Show to selling out multiple US tours to cleaning up in the best of 2022 lists to crushing an NPR Tiny Desk on the 1 year anniversary of the album, Piece Of Me continues to prove itself a timeless classic. In March of 2023, Lady Wray had Ghostface Killah join her on the "Piece Of Me" remix and had Pete Rock lend his legendary remixing skills to "Joy & Pain". Now it's a Big Crown family affair as Les Imprimés lends his production prowess to a remix for "Come On In" and Surprise Chef take the warm weather anthem "Under The Sun" and give it their unorthodox Jazz / Funk treatment. Both of these remixes put brand new energy on the originals that will hold us over while Lady Wray is finishing her new album with El Michels Affair.

■ Limitierte Edition auf White (LP1) und Red (LP2) Vinyl • Audiophiles 180g Vinyl

• Beinhaltet ein Insert
• Die besten Weihnachtslieder von heute's größten Künstlern wie Katy Perry, Miley Cyrus,
Justin Bieber, Sabrina Claudio & The Weeknd, Ariana Grande, Sia, Lady Gaga ft. Space
Cowboy, Sam Smith und mehr

■ Die größten Weihnachtslieder des 21. Jahrhunderts ist das
Zusammenstellungsalbum, das die größten Pop-Künstler des 21. Jahrhunderts zusammenbringt, um Sie in Weihnachtsstimmung zu versetzen. Künstler wie Sia, Twenty One Pilots, Ariana Grande und Justin Bieber sind auf dieser 2LP mit traditionellen und modernen Weihnachtsliedern vertreten.

Die größten Weihnachtslieder des 21. Jahrhunderts ist als limitierte Edition auf White (LP1) und Red (LP2) Vinyl erhältlich und enthält ein Beiblatt.

Die legendären RED & BLUE Compilations der Beatles gehören seit fünfzig Jahren in jeden Plattenschrank und jedes CD-Regal. Um die Veröffentlichung des letzten Beatles-Songs "Now And Then" zu würdigen, erscheinen am 10.11. Neuauflagen mit erweiterten Tracklists im neuen Stereo- und Dolby Atmos Mix. "Now And Then" ist die Fertigstellung von John Lennons Gesangs- und Klavier-Demo aus den 1970er Jahren. Sowohl neu eingespielte Parts von Paul McCartney und Ringo Starr als auch alte Gitarrenaufnahmen aus den 90ern vervollständigen das emotionale Stück. Das RED Album („1962 – 1966“) wird mit 12 neuen Songs ausgestattet; mit dabei sind einige von George Harrisons frühesten Songs sowie Beatles-Versionen von R&B und Rock ’n’ Roll Hits, die prägend für die Band waren. Auf der BLUE Version („1967 – 1970“) werden 9 zusätzliche Songs zu hören sein, unter anderem auch "Now And Then".

Die Alben werden als Vinyl-Versionen, als CD und digital erscheinen. "Now And Then" erscheint am 03.11. als 7" und 12".

It's been 40 years since these tracks were recorded, but all the original studio and live recordings by Times Beach are finally available on CD & LP Times Beach came together in 1983 with a core of active members from San Francisco's vibrant theatre community. That background propelled the band to a kind of stage glamour that wasn't much seen during the era of post- punk, industrial, and goth music. They were striking to see and hear, with the songs to match. But, like so many excellent bands of the era, they suffered from the "home town curse" since they were not from New York or Los Angeles – but San Francisco. Over the course of two years, Times Beach performed throughout the Bay Area, playing most of the major (and minor) clubs such as The Stone, Baybrick Inn, Cotati Cabaret, Berkeley Square, Sound Of Music, Trocadero Transfer, Ashkenaz, Ruthie's Inn, Sleeping Lady Café, and the beloved Chi Chi Club. They had a legion of dedicated supporters, and many of their shows were real party events. When it came time to record, they accepted an invitation from the illustrious Snakefinger (aka Philip Lithman) and Eric Drew Feldman to produce them at Russian Hill Studio. The first part of their story ends just about there, as they never made enough money to actually produce the album from the recordings. And the various members started drifting off. The final public gig was like their first, at the Mabuhay Gardens, in November 1984. Side One of this LP is comprised of those glorious Snakefinger sessions. Side Two presents just a few of the other great songs they wrote and performed live – never captured in any other form. For fans of Jefferson Airplane, Mutants, Nuns.