Search:lady tom

TMNT: Shredder’s Revenge - Radical Remixes is a brand new take on Tee Lopes’ critically-acclaimed OST. This new soundtrack is included in the latest DLC from the multi million-seller game TMNT: Shredder’s Revenge. Several guests were invited to add their own touch: Anamanaguchi, Sean Bialo, Jake Kaufman, Button Masher, Keiji Yamagishi, Tomoya Tomita. Inspired by the 8-bit retro NES aesthetics, this album adds to the TMNT music legacy. Cowabunga!

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

Na de comeback plaat van 2021 'Is er iets?', is Madou terug met de EP, 'Engel', net op het moment dat Vera Coomans 75 jaar wordt.
De afgelopen 3 jaar speelde Madou op vele mooie plekken en is de band ook uitgebreid: Mattijs Vanderleen (Marble Sounds, Tommigun) op drums en Marc De Maeseneer (Lady Linn etc...) maken nu ook deel uit van de band.
Hoogtepunten waren Dranouter in 2022 en de uitverkochte AB 'Rewind' show in september 2022 met de re-release na 40 jaar van de eerste Madou plaat op vinyl.

Al die concerten gaven goesting en Vera begon Wiet en Thomas naar nieuwe songs te vragen.
Die nieuwe melodieën leidden tot nieuwe verhalen die nieuwe liedjes werden. Een beetje zoals Randy Newman deed op 'Little Criminals'. Filmische verhalen, muzikale kortfilms, als je wil, een beetje zoals Randy Newman deed op 'Little Criminals'. Maar hier heeft elke song een verhaal met een vrouw als hoofdpersonage.

In november 2023 kreeg Vera telefoon van Gorik van Oudheusden, aka Zwangere Guy.
Hij was op zoek naar muziek voor de TV-serie, 'Putain' waaraan hij werkte, en hij vroeg ons of hij wat nieuw materiaal kon horen. Vera en Thomas speelden in de ICP studio in Brussel een akoestische versie van 'Engel' voor Zwangere Guy en Chuki Beats en die reageerden meteen enthousiast. 'Engel' staat ook op de soundtrack van 'Putain' in een prachtig strijkersarrangement van Wiet Van De Leest.

In mei 2024 trok Madou een paar dagen naar de Jet studio in Brussel en namen ze de EP 'Engel' op onder leiding van Peter Van Laerhoven.

De EP:

Engel:
Gaat over de onvermijdelijkheid van de dood. Vera Coomans:' Als je 75 bent, dan probeer je je in verloren uren wel eens 'de overkant' voor te stellen en wie je op een dag zal komen halen. Of je hem zal herkennen ook. En of het spannend wordt.

Waar het beter was:
Een vrouw wordt wakker uit een nachtmerrie in een nog bangelijkere realiteit.

Koude Voeten:
Waar maanziek zijn toe leiden kan, of hoe je verloren kunt lopen in je eigen hoofd.

Myanmar:
Hoe troostend en het kan zijn om verloren te lopen in je eigen hoofd.

Mooie Dag:
Een mooie dag maar met weerhaken.

Gebroken Glas:
Wat eerst 'Bovary' als titel had, werd uiteindelijk 'Gebroken Glas'.

Madou:
Vera Coomans: zang
Wiet Van De Leest: piano, viool, altviool
Thomas Devos: gitaar, bas, zang
Louis Van De Leest: keyboards, synths, beats
Mattijs Vanderleen: drums, percussie, beats
Marc De Maeseneer: saxofoon

Madou speelt ook live:

"Mrs. Ladyships and the Cleanerhouse Boys" are your new favorite MOD heart throbs. Is there REALLY a new Merseybeat Revolution? How many times can you really REALLY watch The Blow-Up alone in your room? Why don't you venture out the front door and take a bite of the real thing? The Smashing Times are a mainstay in the indie pop underground. The group mistrals the new modern life perfectly, the sharper world. collaged with 12 string guitar and mallet on the floor tom. 14 tracks 33RPM.

Imagine a late-1980s British band who ignored the prevailing chest-beating roots rock and jangly indie, and opted instead for terrace chant pop choruses, lyrical wit and a high-fashion boot-boy image: Queen meets the Sex Pistols. But wait ... the band actually existed and quite possibly invented Britpop. Reviled by the press at the time, Boy Wonder's recently discovered recordings now sound remarkably prescient: Blur's London; the Sladeier side of Oasis; Supergrass' sense of fun; and the arched eyebrow of Pulp. Never previously available, Question Everything is a revelation.

Autumn Lady’ was the name of a project started in 1973 but was waylaid and forgotten about and was later replaced by the 1974 album ‘As I See it Now’. This album represents the songs that were intended to become that album - some became singles (‘Bitter Bad’ and the Goffin & King classic ‘Will you love me Tomorrow?’)…but most remained unheard • Limited pressing LP of 700, pressed on deep red vinyl • CD version gives the customer a wider range of material considered for this album in 1973 across 2 discs, crammed with rare tracks. Including the controversial 27-minute version of ‘Hearing The News’ • Packaged in deluxe card gatefold sleeve with colour booklet and liner notes by Melanie’s manager and UK music journalist Dave Thompson

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

Motion picture soundtrack to the critically acclaimed 2023 black comedy starring Barry Keoghan, Jacob Elordi and Rosamund Pike. Includes the huge resurgent hits Murder on the Dancefloor by Sophie Ellis-Bextor and Perfect (Exceeder) by Mason vs Princess Superstar.

Saltburn is the 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten. The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing.

Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists.

By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music.
Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK.

The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples.
A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives.

By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten.

The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony.
Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady's Greatest Hits"(LSSN021) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. 'Greatest Hits' contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' 'I Had Too Much To Dream (Last Night),' a frantic 'Ballroom Blitz' amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

VINYL LP: Edition of 500, black Vinyl. Gatfold Poster and printed insert with Download Card.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

"One of the most famous Dutch bands ever is Shocking Blue. The band released some of their best-selling hits all around the world, including the still standing ""Venus"". It´s one of the many songs which can be found on the double LP Single Collection Part 1. This collection was originally released in 1997 and consisted of 28 of their best tracks, including ""Pickin' Tomatoes"", ""Never Marry a Railroad Man"", and ""Mighty Joe"". Also included are Robbie's powerful B-sides like ""Fireball of Love"", ""Hot Sand', ""Wild Wind"", and ""Roll Engine Roll"". Single Collection Part 1 is available as a limited edition of 1000 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve. "

Single Collection Part 1 by Shocking Blue, released 22 March 2024, includes the following tracks: "Lucy Brown Is Back In Town", "Send Me A Postcard", "Long And Lonesome Road", "Venus" and more.

This version of Single Collection Part 1 comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a white disc. Another vinyl is pressed as a white disc.

Formed in 1977 by brothers Kim Chang-wan, Kim Chang-hoon and Kim Chang-ik, Sanullim are one of the fathers of Korean psychedelic rock.

“Evening Breeze” is the first ever comp focused on their little known 1979-83 albums, selecting their most fuzzed-out, hard-psych-pop-funk (Korean style) tracks.

Selected by (probably) Sanullim number one non-Korean fan Antoni Gorgues.

Discover the 3rd Album of The emblematic Crew Africanism All Stars led by Bob Sinclair and featuring, among others, Yves Larock, Joachim Garraud, Tony Allen, David Guetta... Includes the Hits "Summer Moon", "Viet Dao REmix" and "Sye Bea"

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".

"Flower power psych pop that’ll blow you away! Exploring the jangly folk and garage sounds of the late ‘60s, the Superfine Dandelion picks a wide variety of colorful folk, country and jug band influences and puts a psychedelic tint on their all-original compositions. Our favored stereo mix, pressed on blue vinyl!

Formed in 1967, this Phoenix, AZ band would only last for a year before parting ways, leaving behind just one album – a fate many Mainstream artists ultimately faced, no matter how quality their style and sound was. The Superfine Dandelion features Mike McFadden (formerly of the garage rockin’ Mile Ends) and Rick Anderson (founding member of the Tubes) showcasing the sound of the Summer of Love – kaleidoscopic, sunny & groovy!

“While the cheeriest cuts have the sunny folk-pop/rock feel of, say, some of the L.A. folk-rock issued by the Dunhill label (‘Don't Try to Call Me’ recalls P.F. Sloan) or the Monkees, their self-titled LP had a good deal of sub-Jefferson Airplane folk-psych-rock, with plenty of minor chords, harmonies, and wistful lyrics. Then ‘Janie's Tomb’ and ‘It's Raining’ have a jokey jug band vibe, like a cross between the Charlatans and the Lovin' Spoonful.” – Richie Unterberger (AllMusic)"

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'The Space Lady's Greatest Hits' features the best of these recordings - mostly covers of 60s pop and psych alongside interstellar originals and features archival photographs and liner notes from The Space Lady herself. "Greatest Hits" contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' "I Had Too Much To Dream (Last Night)," a frantic "Ballroom Blitz", and an unbelievably perfect version of "Major Tom" - amidst other reconstructed pop music.

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.

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.

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.

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind.

So, put on your wellies in your living room, drop the needle and enjoy...

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

EVERGREENS feiert Streisands 60-jähriges Jubiläum als Künstlerin bei Columbia Records. Das Album enthält 22 Songs - 1 Song von jedem Studioalbum, das sie veröffentlicht hat. Die Songs wurden von Barbra als einige ihrer Lieblingssongs während ihrer Karriere ausgewählt. Keiner dieser Titel ist auf früheren Streisand-Compilation-Alben erschienen. Die für EVERGREENS ausgewählten Lieder haben nichts mit Verkaufszahlen oder Auszeichnungen zu tun. Sie wurden von Barbra ausgewählt, um ihre emotionale Verbindung zu diesen Melodien und Texten zu veranschaulichen, da jeder von ihnen einen besonderen Platz in ihrem Herzen und in ihrer Erinnerung einnimmt.

Demon Records is proud to present ‘Produced by Tony Visconti’, a new definitive retrospective compilation assembled with the assistance of legendary record producer Tony Visconti.
“This boxset covers five and a half decades of my efforts in the art of making iconic recordings. Some of it is familiar and some will have a eureka moment, ‘I didn’t know Visconti produced that one!’
I am honoured that Demon Records took on this enormous task.”
– Tony Visconti

Often described as one of the most important
producers in rock, Tony Visconti has helped create
countless classic musical moments. His work can be
heard on celebrated albums by artists such as T. Rex,
Procol Harum, The Moody Blues and Thin Lizzy to
name but a few.
• This new collection features 30 tracks personally
curated by Visconti, gathering together some of his
favourite production work from across his career.
• Includes tracks by T. Rex, Sparks, Thin Lizzy, U2,
Dexys Midnight Runners, Gentle Giant, The
Boomtown Rats, Manic Street Preachers, The Good,
The Bad & The Queen, and many more.
• Pressed on 2 x 140g LPs, mastered by Phil Kinrade at
AIR Mastering, approved by Tony Visconti. Artwork
designed by Grammy-winning creative studio
Barnbrook.
• Includes a 12-page booklet with previously unseen
photographs, and extensive track-by-track liner
notes by Mojo writer Mark Paytress based on new
interviews with Tony Visconti.

























x 5. U2 – A Sort Of Homecoming Live

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003.
Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats.

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.John Martyn met Beverley Kutner and the pair married in 1969.
Kutner was a dazzling folk singer who had been invited by Paul Simon to sing on
Simon & Garfunkel's Bookends album. It was obvious that two such talents united
in love should also unite in music. Stormbringer! – produced by Joe Boyd – was
the first of two albums billed to both of them.
Recorded in Woodstock, the album featured The Band's Levon Helm on drums on
Beverley's standout, eight-minute long Sweet Honesty. Not to be overshadowed
John also contributed John The Baptist, one of his career highlights, with
Beverley adding sweet backing vocals.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

Bevor Surf Curse am 7. Oktober ihr neues Album " MAGIC HOUR " veröffentlichen, lassen sie uns ein Selbstporträt von sich da - in Gestalt ihres neuen Songs. Geschrieben von Surf Curse und produziert von Chris Coady liefert "Self Portrait" einen weiteren
Eindruck des kommenden Albums "MAGIC HOUR".

Zuvor hatten bereits energiegeladene Singles wie "Lost Honor",
"TVI" und die Power-Pop-Hymne "Sugar" Lust auf das neue Werk gemacht, dem insgesamt vierten der US-Platin-ausgezeichneten Band aus Los Angeles und zugleich ihr Debüt bei Atlantic Records.

Für die Aufnahmen ihres neuen Albums "MAGIC HOUR" begaben sich Surf Curse in die heiligen Hallen der Electric Lady Studios in New York City. Ausgehend von ihrem bewährten Indie-Rock-Ansatz, erforschen Surf Curse in den neuen Songs eine größere Bandbreite an Klangstilen und -farben als je zuvor in ihrer knapp zehnjährige Bandhistorie. Mit dem Album feiern zugleich zwei neue Bandmitglieder ihren offiziellen Einstand, Noah Kohll und Henry Dillon . Die neue Besetzung ermöglichte es Surf Curse, ihr ohnehin schon ambitioniertes Songwriting-Handwerk in ganz neue Höhen
zu treiben.
Die Spanne reicht dabei von glühenden Songs wie dem Album-Opener "Arrow" bis hin zum schwermütigen Bluesrock von "No Tomorrows".

The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN021) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Across 2LPs comes a unique collection of authentic 70s nostalgia.
Blissful and relaxing, compiled together onto vinyl is the warm sound of 32 of the decade’s finest works of easy listening pop.
Find classic lounge tracks from The Manhattan Transfer, Neil Diamond and Demis Roussos alongside Dionne Warwick, Commodores, Billy Joel and many more.

Some 30 years after first putting on a slab of vinyl in front of an audience Belgian DJ mainstay Red D presents his debut album called ‘Fantasize Then Realize’ under his Red Basics guise. An experienced and versatile DJ if ever there is one, it was logical that his album takes in a wealth of influences from around the house and techno block and features some of his best musical friends and inspirations. From his ‘go to’ singer Lady Linn, to his musical friend and partner in FCL San Soda via Belgian stronghold Lefto, to his Detroit buddy Reggie Dokes: these are the people Red D has been working with and learning from for years on end.

The music ranges from the dreamy beatless title track to the sleazy spoken word ‘Just Like Hercules’ up to the Larry Heard-inspired deepness ‘Compelled’ and including the melancholy of ‘The Larkin’.

Locked down during the first months of the Covid 19 madness Red D had no more ‘I’m too busy to get into the studio’ excuses and all the inspiration gathered during the countless hours of DJ’ing and listening to records in the last 30 years simply poured out. Making track after track was daily (and nightly) business and after a while the idea of a full album simply came naturally. The next lockdowns were spent fine-tuning the tracks, coming up with lyrics and finalizing the tracklist.

The result is ‘Fantasize Then Realize’, Red D’s debut album and a testament to his sound and attitude.



DJ FEEDBACK:

Mousse T:”22 Shoulders, hell yeah!”
Laurent Garnier: “Thanks a lot for these tracks. There’s some lovelyyyyyyy deeeeeepness in there. Love it.”
Levon Vincent: “I gave the LP a listen, nice one! I thought ‘Devious Monday’ was captivating and I liked the work with Classy Lassy as well. Congrats!”
Ka§par:"When a guys knows what he's doing, it sounds like it's real. Great tracks, loving it more and more the further we go."
Roberto Rodriguez: "Classy album! Red D quality!"
Nacho Marco: "Loving it, hard to pick a favorite. Thanks!!"
Kong: "Big up Bart, well done. Belgium = house = Red D!!"
Melon: "House music represent! Love it, feel it & gonna drop it. Great stuff :)"
Simon Caldwell: "Some really special house music on this album. Many thanks!!"
OOFT!: "Yes! This sounds amazing! Authentic underground house music just the way I like it :)"
Massimiliano Pagliara: "Nice tunes!"
Tomaz: "We all knew Bart knows where it's at but this is ridiculously good. Hard to pick a fave. The collabs are great, so are the ‘solo’ tracks. I picked the single with Lien as fave because that'll hopefully draw the deserved attention to the rest of the album. Top marks !"
Juliano: "Congrats for your album Bart ! love the deepness of the tracks and the authenticity you brought. Thank you"
Harri: "Liking these a lot, will play and support."
Alex Barck: "That's a great piece of work"
Quintessentials: "All around fantastic album! Congrats!"
Lauer: "Respect, amigo!"
Darko Esser: "Beautiful album, congrats mate great work!"

After 6 years and 7 volumes, the Tramp Records crew invites you to join them on yet another enlightening journey into soulful Jazz, Folk and Funk from the 1970s.

This 8th volume contains nineteen Jazz, Soul and Folk nuggets from between the late 1960s and the late 1970s. One of the many highlights is the opening track by Bobby Cole which is most likely one of the finest independently produced vocal jazz recordings ever put on wax. So true. Oscar Brown Jr. and Mark Murphy sends its regards. But that's just the beginning. Praise Poems Vol.8 covers a wide selection of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's own Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), completing the set with a handful of melancholic folk beauties, most notably Hans Hass Jr.'s mind-blowing "Welche Farbe hat der Wind".

Very few compilation series' release as many as eight volumes and those that get that far often start to run out of quality music or meander too far from their original artistic direction. That certainly is not the case with the "Praise Poems" series which leaps from strength-to-strength as our team of compilers and researchers continue to unearth lost and often overlooked music from an era long gone. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, those labels neither had the budget, expertise, nor options to promote their releases in a sweeping way. Therefore the majority of these artists failed to find the wider audience their music so richly deserved.

"In the late 1960's, Decca was playing to its strengths – mass marketing classical and easy-listening recordings just as it had been doing since the late 1920's. In April of 1968, Decca entered into a venture that would see its repertoire prominently displayed by non-specialist retailers, and after much resistance, it moved into the world of budget releases, with the beginning of its much loved ‘The World Of’ series in 1968.

The first album set out the series’ stall perfectly, focusing on one of the label’s biggest-selling artists. Its whole raison d’être was to drive sales of the artist’s repertoire: inviting consumers to dip in here and discover more, while the rear sleeve clearly offered the catalogue numbers of the parent albums.

Later, the World Of ’s would also become treasure troves for rarities and one-offs.nitially, the series stayed in the ‘Easy’ territory and by the end of ’69, 54 titles were available. Unsurprisingly, given the label’s heritage, classical repertoire would also become a mainstay.

The first classical LP was one of the early issues:
The World of Johann Strauss. The series treated classical music much like pop: compiling the most popular pieces and presenting them across two sides.

• 180 GRAM HEAVYWEIGHT VINYL • CUT AT ABBEY ROAD STUDIOS
• NEWLY-COMPILED SELECTIONS FROM DECCA’S ILLUSTRIOUS CATALOGUE • Please note: The World of Nothern Soul - previous orders still stand.