Search:ll

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Behind Closed Doors, das dritte Studioalbum der englischen Hardrockband Thunder, wurde 1994 veröffentlicht und erreichte bei seiner Veröffentlichung Platz 5 der britischen Albumcharts. Damit festigte die Band ihren Ruf als eine der besten Rockbands von den
britischen Inseln. Drei UK Top 40 Singles wurden daraus ausgekoppelt: Stand Up, River Of Pain und Castles In The Sand.

Produziert wurde das Album von Gitarrist Luke Morley und dem langjährigen Mixer Mike Fraser, wobei alle Bandmitglieder sowie der ehemalige Produzent und Duran Duran-Gitarrist Andy Taylor Beiträge lieferten. Das Album gilt unter Fans der Band und des Hard Rock
gleichermaßen als Klassiker. Diese neue, erweiterte Ausgabe enthält vier bisher unveröffentlichte Live-Versionen von klassischen Songs des Albums. Außerdem wird das Album zum ersten Mal seit seiner
Veröffentlichung im Jahr 1994 in limitierter Auflage auf zweifarbigem Vinyl neu aufgelegt.

Silberfarbenes 2LP-Vinyl zur Feier des 100-jährigen Jubiläums von Disney mit Favoriten von Three Little Pigs, Snow White and the Seven Dwarfs bis Coco, Encanto und mehr!

repress

Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in its infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel.

Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels.

Originally released in 1974, Peace And Love - Wadadasow is Dadawah’s magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi.

Antarctica Starts Here presents the first widely available domestic release of Peace and Love - Wadadasow. This reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by JR Gonne.

Alone was Modern Talking's eighth studio album and the follow-up on their comeback album in 1998. Their comeback was well celebrated, because this album topped the charts once again. The album was supported by two singles, “You Are Not Alone” and “Sexy, Sexy Lover”, which charted at #7 and #15 in Germany. The album itself debuted atop the German Album Charts and remained there for four consecutive weeks. Alone was eventually certified platinum in Modern Talking's home country.

Alone is available as a limited edition of 1500 individually numbered copies on yellow & black marbled vinyl and includes an insert. The run-out groove contains secret inscriptions.

Roadburn festival is arguably the world's most cutting edge boutique music festival out there, and has been a fertile breeding ground for innovative acts from a broad spectrum of musical genres for many years. Last year saw the unique collaboration of Danish electro-industrial duo John Cxnnor and Hungarian doom-folk artist The Devil's Trade take the stage to deliver a sonic journey into the void of deep space. Today, we are ex- cited to release this iconic set on vinyl to immortalise this one-time convergence of three akin artistic minds. John Cxnnor is made up of one half of Danish sci-fi-sludge metal juggernaut LLNN and sees the brothers Rasmus G. and Ketil G. Sejersen collaborating with numerous fellow artists to explore the synth side of their main project. Inspired by the Terminator-franchise and the scores of other sci-fi movies, the Sejersen brothers have been creating menacing industrial electronic opuses, the frst of which a crushing rendition of a The Devil's Trade track. "We've been enjoying the music from The Devil's Trade for quite some time now," commented the duo on the release of «Dead Sister Merope», describing it as "an interesting match of musical expressions formed by the same DNA." Indeed, the haunting atmospheric folk compositions of The Devil's Trade mastermind Da'vid Mako' carry a similarly cavernous quality which, when taken to the stage of Roadburn, is only reinforced by the sonic violence of John Cxnnor. Unlike many other live records, this set is captured and excellently produced down to the finest level of detail. On centrepiece «Lullaby», the trio seem to have perfected their definition of heaviness, with heavy bass blasts beyond anything you've heard before booming from the speakers. Together John Cxnnor and The Devil's Trade reach new heights in their respective trades capturing both the pressing darkness that gathers `round a bonfire at night as well as the void darkness of deep space. FOR FANS OF Author & Punisher, Godfesh, Lustmord, LLNN, The Devil's Trade, The Body, Uniform Ltd Gold (single colour) edition!

• 180 GRAM AUDIOPHILE VINYL
• SECOND ALBUM FROM BROTHERS MICHAEL, JACKIE, TITO, MARLON AND JERMAINE
• INCLUDES THE BILLBOARD HOT 100 #1 SINGLES “ABC”, “ONE MORE CHANCE”, “THE LOVE YOU HAVE” A.O.

The brothers Joe, Jackie, Tito, Jermaine, Marlon and Michael Jackson formed the pop band the Jackson 5 in 1964. In 1968 they signed with Motown Records and became the first group to debut with four consecutive number one hits on the Billboard Hot 100, including “ABC”. This single is featured on the same-titled album which was released in 1970. Other hit single “The Love You Save” is also included on the album. Both singles went directly to the number one position across the board, even knocking The Beatles off their number one spot. ABC peaked at #4 on the Billboard Pop Albums Chart and at #1 on the Billboard Black Albums Chart in the U.S. It remains one of the most popular efforts by the Jackson 5, selling over 5.7 million copies worldwide.

After a monstrous run of sold out North American and European shows following the release of the critically acclaimed album, “Orange Print,” San Francisco legend and entrepreneur Larry June released his next solo offering, “Spaceships on the Blade” on LP.

The 20-track LP features the hit singles, “Private Valet” & “In My Pockets,” and sees production from a wide range of producers, such as Jake One, DJ Khalil, Cardo, DJ Fresh, Chuck Inglish, Turbo & more. With an eye on always expanding and diversifying his income streams, it’s clear to see that Uncle Larry is going to continue to do numbers for a long time. Good Job, Larry. 2LP housed in a gatefold sleeve; printed inner sleeves; orange & bone quad color variant.

The group was formed by three members of Descendents (Bill Stevenson, Karl Alvarez, and Stephen Egerton). Mass Nerder brings you sixteen searing cuts that never dip below 210 beats
per minute. Produced by the band’s own Bill and Stephen at Bill’s Blasting Room studio in Fort Collins, CO, and featuring Descendents’ vocalist Milo Aukerman on backing vocals, Mass Nerder is the house blend for dweebs and cool guys alike and is not available in decaf. Reissued on vinyl for the first time ever in Europe to celebrate the 25th anniversary of the release!

Includes tracks by Latimore, George McCrae, All the People, Timmy Thomas, Gwen McCrae, Wilson Pickett, Doris Duke, and many others.

In 1998, New West Records was in its infancy - The label had only
released a handful of records before becoming fortunate enough to work with Shaver, a duo consisting of Billy Joe Shaver and his son, Eddy Shaver - The guitar virtuoso son and the outlaw-country hit-songwriter formed an incredible pair that would go on to release 6 critically acclaimed albums.

In 1999 the duo released Electric Shaver and the title says it all. Billy Joe had made a career out of playing acoustic country songs but with Electric Shaver, he and Eddy plugged in and delivered an outlaw country record with blues licks and rock solos.

In celebration of 25 years working with this amazing catalog, New West Records is proud to release Electric Shaver on vinyl for the first time.

This is a one-time color pressing. These will not be pressed again.
Each record is packaged in a colored foil paper sleeve with foil stamped sequential numbering 0001-2000. This record is limited to 2000 copies

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

Easily one of the greatest roots reggae albums of all time, Soul Rebels resulted from the intensive partnership brokered by the group and maverick producer, Lee 'Scratch' Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett brothers in the rhythm section pointed the way for greater glories to come. The Wailers first formed as an unruly five-piece in 1963, with Junior Braithwaite as lead singer and Beverley Kelso an early member, sometimes replaced by Cherry Green. During their long tenure at Studio One, Bob Marley gradually shifted to the lead vocal role and the robust core of Marley, Peter Tosh, and Neville Livingston, aka Bunny Wailer, soon emerged as the mainstays of the group. Perry was involved with the Wailers at Studio One, using their talents for backing vocals on some of his solo work, but the partnership that yielded Soul Rebels was in an entirely different league. The title track, Tosh's anguished "400 Years and "Corner Stone" are legendary for their intense power; "It's Alright" set the template for the later "Night Shift," "My Cup" was an individual barebones reading of James Brown's "I Guess I'll Have To Cry Cry Cry," while the playful "Try Me" and "No Water" are suggestive odes. Tosh's dejected "No Sympathy" and the spirited "Soul Almighty" are other winners and the "Cloud 9" revamp "Rebel's Hop" is another joy. All killer, no filler!

Drop a needle on Psyché's debut double-sider – the debut album is out on May 19th – and you'll see visions, or rather Mediterranean visions, be they of waves of heat shimmering above dunes of sand, or of women dancing around a bonfire on a rocky plain, or of bushy cliffs overlooking emerald-green and turquoise sea. The name Psyché is of course ancient Greek for 'soul' or 'mind',signifying the band's love of psychedelic funk, but also the wide range of Mediterranean influences – from Southern Europe to the Balkan Peninsula, and from Anatolia to the Maghreb – that provide an endless source of inspiration for their hypnotic sound and minimalist style.

Psyché members Marcello Giannini (Guru, Nu Genea, Slivovitz), Andrea De Fazio (Parbleu, Nu Genea, Funkin Machine) and Paolo Petrella (Nu Genea) have been active in the Naples music scene for almost two decades, most notably during the first wave of the new Neapolitan Power movement (Slivovitz, Revenaz Quartet). Over the years they have often crossed paths and collaborated on side projects in various genres (math-rock duo Arduo and, more recently, Italo-disco duo Fratelli Malibu), before working together as the rhythm section of Nu Genea's live band. Following their first tour with Nu Genea in 2018, they started Psyché with the intent of exploring more minimalist styles and making musicwith just a few elements.

A unique combination of psychedelia, groove and improvisation, the music of Psyché goes back to the roots of our future; it evokes visions of a mythical past, blending centuries-old music traditions and mixing them with modern genres. Like a warm Mediterranean breeze, it travels across lands, seas and eras, distilling essential rhythms and cosmic pulsations.

"Cumbia Mahàre", on side A of the 7-inch, dives deep into the origins of rhythm, drawing us into the movements of an imaginary ritual dance (the term mahàre was used in Southern Italian dialects to indicate witches). Through the interplay between minimal synths and exhilarating rhythmic patterns of drums, percussion, guitar and bass, Psyché take a fresh and bold approach to contemporary afrobeat and cumbia fusion.

"Ophis", on side B, is a mesmeric blend of African, Balkan and Turkish rhythms and sounds. Ethereal vocalizations and warm, hypnotic bass lines combine with psychedelic riffs and haunting melodies on guitar to evoke ancient cultures whose spiritslithers like a snake across the dunes of a sun-scorched desert.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

After co-writing a top five song for Kitty Wells, Mommy For A Day, Buck ended
1959 with a hit of his own, Under Your Spell Again. The next six years brought
many more; Foolin' Around, Under The Influence Of Love and Heartaches By
The Number. However, Owens’ popularity had peaked by the late 1960s. So,
in 1969 he embraced the small screen and became co-host of Country Music
TV programme, Hee-Haw. The arrival on the scene of Country-Rock pioneers
the Flying Burrito Brothers in the late 1960s gave Buck Owens another share
of reflected glory. They loved the raw Hillbilly feel of his music, developed to
compete with the string-laden ‘Countrypolitan’ sound so popular in the early
1960s in the hands of Eddy Arnold, Jim Reeves and Patsy Cline.

Gretchen Goes to Nebraska is the second studio album by American heavy metal/hard rock trio King’s X. It is a concept album based on a short story written by drummer Jerry Gaskill.

The album received virtually universal critical praise for its uniquely progressive musical approach and varied styles and is considered as one of their works, a seminal record within the progressive metal genre. It achieved high slots on various Album Of The Year-lists, including #4 in Kerrang!.

Gretchen Goes To Nebraska is available as a limited edition of
1500 individually numbered copies on gold coloured vinyl.

Time to resound the trumpet as Australian blackened sludge veterans Lo! return with another grand infernal vision, captured in capital riffs and gargantuan grooves! After the universal acclaim of the band's 2017 studio endeavour Vestigial the Australian interstate quartet show no intention of slowing down with The Gleaners_a soul-ripping hell-ride across nine visceral anthems; an affair of raw violence with a touch of sophisticated madness. Lo! herald the end of the existing order of things, executing crushing judgement upon those tyrants who put the poor to powder. On The Gleaners Lo! firmly continue in the vein of their much-lauded third album, setting an over-arching storyline with multiple characters to a symphony of sonic death and destruction. "Vestigial opened up the writing arena for Lo! in many ways," explains guitarist and main-songwriter Carl Whitbread about the predecessor of The Gleaners. "We created an album of anthems without losing the groove or viciousness of performing live, using defined characters and themes that are revisited and interwoven across the record, while also experimenting with atmospheric and cinematic samples to breathe life into the recording." Above all, this record is nothing but a firm rattling of your cage - and who could expect something else from the minds of this Australian quartet who have been churning out nothing but stellar sludgy blackened hardcore over the past twelve years? Like a Hieronymus Bosch painting, the storyline of The Gleaners has little of a focal point, the characters crawl all over the place - its chaos is complete - but somehow its impact is phenomenal. Lo! have gone and done it again, creating a terrifying vision of the infernal madness of our reality that shakes you to your core! FFO Converge, Baptists, Black Breath, Mastodon, Trap Them, LLNN Ltd red single coloured vinyl w/ poster!

ZYX Italo Disco New Generation Vinyl Edition 6 presents 8 selected Italo Disco songs.

Look forward to songs by
Sauvage
Lars La Ville feat. Gauvey-Kern
Diego
Love Kills
Stockholm Nightlife feat. Helly
Soulya ID
Marc Fruttero & Alex Papale
Valerie Dore
Vinyl lovers, be invited to enjoy almost 50 minutes of iconic analog sound quality!

All the best music has a community underneath it. The extended family around London’s Total Refreshment Centre (TRC) connects continents and generations, creating the rich relationships in full effect on Transmissions From Total Refreshment Centre. It’s an eclectic and electric collection that draws from new school jazz, hip hop, dub, soul, funk, and drill: sounds you’ll hear trailing out of cars as they spin up the Kingsland Road or spiraling out of doorways like so much smoke. Turn it up loud to hear the widescreen young cousins of Guru’s landmark Jazzmatazz in full effect: top players from London, Chicago, and Melbourne seeking out new collaborations, new ways of working, or just new tunes, always coming back to that central truth – that we all need each other.

The duo of Charles McCloud and Roslyn Johnson made only two albums during their career…but those two albums (Everything Must Change and Spirit of the Living God) are among the most collectible records ever made in the gospel genre. In fact, they are so hard to find that we’re still searching for Spirit of the Living God to scan the artwork, but we managed to snag a copy of their 1981 debut Everything Must Change on the obscure Cheri label (though we may have to pass a collection plate to recoup the cost!).
It’ll just take the first track to show you why these records are in such demand; you have never heard such a soulful (check out those harmonies!), slow-burning rendition of that hoary chestnut “Amazing Grace” in your sanctified life! And with able production by keyboardist Julius Brockington, who played with Larry Young and headed up several outfits of his own, Everything Must Change is a crossover album in the best sense of the word, blending the spiritual fervor of gospel with the danceable grooves of soul and—dare we say it?—disco. Don’t miss the Donny Hathaway cover “Someday We’ll All Be Free,” too. Black vinyl release, first ever reissue in any format…limited to 1000 copies!

Jamaican-born trumpeter Dizzy Reece was a fixture of the London jazz scene before moving to New York City in 1959 where he recorded his excellent album Star Bright, a hidden gem in the Blue Note catalog featuring a first-rate hard bop quintet with Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass & Art Taylor on drums.

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

38 Spesh has quietly become tastemakers’ top pick for “next to blow.” Just ask LeBron James, Kevin Durrant, DJ Premier, Sway, Method Man, or Lloyd Banks, all of which have co-signed this Upstate New York emcee. His 7 Shots EP, the third and final instalment in his fan-favorite “Shots Series,” marked the moment that many caught on to the TRUST movement. The 8 track offering gives underground Hip-Hop fans exactly what they want, hard bars over soulful beats. The project features guest verses from Freeway, Ransom, Eto, and Che Noir, as well as production from Streetrunner, The Heatmakerz, LT Beats, Thanos Beats, and more. Mixed and mastered by Chris Pinset Cover by Laz Art Direction by Jordan Commandeur A&R by Ransom









[h] B4. Last Gasp (feat. Ransom & Tearz) [7 Shots Version] (prod. by Mayor, Ty Jamz & Bernard B. Westwood)

Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl.

“The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright

’Military Arms’ is the debut output by Gothenburg-based sound-smith Irma Krook. Up until now primarily known as bass player & founding member of death pop vanguards Makthaverskan, Krook has composed four tracks of ethereal beauty, in the sanctity of her own home.



Limitation is the mother of invention and recording from a flat in Masthugget narrows the possibilities even more. Recording her vocals on her phone & making all instrumentals in GarageBand on an iPad - Krook has succeeded in making a big sound from small means.

Uniquely her own, while still honoring the inspirations. Kate Bush á Hounds Of Love-era, Anna Domino, 90’s era Talk Talk, This Mortal Coil & Julee Cruise. 


Music you’ll need to take out your furniture before listening, for it to even fit in the room it’s occupying.

’Military Arms’ is available physically on a black vinyl 12” & digitally through all streaming.
It will be forerun by the double-single ’Find Me’ on the 15th of February, containing the B-side track ’I Keep On You’ which will not be available on the full-EP release.

White Vinyl

Did you know that miracles happen every day? We don't always see it that way We look at the state of the world and think, "It'll be a miracle if we make it out alive." But miracles are what humans do. We're Earth's most inventive and unpredictable species, when we're allowed to be. Also the most destructive. Miracle-Level is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

The second in a series of self-released Liquid Earth Physical Records, “The Breakdown” is a front flip into curbside clubbing.

The Aside offers two impeccably tight mixes of the 12” title tune, both providing different licks of pleasure for the casual clubber. “Charms Of Gaia” is forward leaning, equipped with big room, big energy type vocal breaks. “Trips & Skips” is an ode to the stripped down wigglyness of one of UK Tech House’s greatest, Nathan Coles - a clear influence of Mr. Earths.

From here, we are sat next to the two black sheep of the 12” on what seems like the most pleasurable road trip of a record. B1 being the beefed-out break tune titled “The Closer” and B2 the straight and narrow slammings of “Cobblestone Stomper,” a track surely given its holy legs by the OG Jerusalem Cruiser.

What you won’t find on this record is senseless filler, instead, you’ll surely be pumping your face with the permanent botox that is Liquid Earth. Now let’s see that smile!

Rapha Pico returns to the Jah Works label for Ulterior Motive, speaking out on the hidden agendas of the powerful. Beautifully moody horn lines by Arthur Flink & a strong bass foundation laid by 'King Kay' Hasselbaink support Jah Rej's drums on this stepper that'll set sound systems ablaze.