Buscar:love nation

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

Are you a mannequin in the eyes of your beloved? Does your partner compare your relationship to a factory that emits plumes of smoke? Are you in love with a seductive and destructive Credit Default Swap? Someone who sucks you in with skyrocketing short term erotic returns - only to ghost you until you crash so hard that you end up broke(n) in your own bed? Do you pay $300 an hour out of pocket to a psychiatrist who promises to help you strike a deal with a difcult parent - one that will produce more stable long term returns on your psychic investments? If so, then you, my friend, may be drowning in the sea of Love in the Time of Capital. It's where everyone would love to drown. It's a new album from John Davis of The Folk Implosion that fnds him backed with confdence by Eli Moore and Andrew Dorsett of the indie pop band Lake. It was recorded by Nich Wilbur at the Unknown, a cavernous recording studio in Anacortes, WA that has been a favorite destination for indie rockers around the nation. Ben Brodin recorded Megan Siebe playing strings on two tracks at his Hidden Branch studio in Omaha, and the album was mixed by Scott Solter in Durham NC. Arrangements are based on the classic power pop trio of drums, bass and electric guitar. Those elements are tastefully embellished with organs and pianos that call to mind records by classic rock bands like Tom Petty's Heartbreakers. That is, if the Heartbreakers were fltered through the Northwestern International Pop Underground tradition, and cast a critical eye on how commodity culture shapes the way we think of ourselves and our intimate relationships. The album also features four ballads, three drum and electric guitar free, for all you late night introspective heads.

Für das vierte blutrünstige Album der Band und das erste für 20 Buck Spin, nachdem sie sich in den letzten Jahren im Death Metal-Underground immer mehr einen Namen gemacht haben, präsentiert Fulci "Duck Face Killings", eine Hommage an einen von Lucios abscheulichsten und meist geschmähten Filmen, "The New York Ripper".

Musikalisch entfesseln Fulci eine Flut von fesselnd grausamen Riffs, blutigem Gemetzel, mörderischen Schlägen, tiefen, gutturalen Gesangsmustern und unheimlichen Intros und Zwischenspielen. Das Songwriting der Band ist bewusst darauf fixiert, die brutalste und schärfste Musik zu kreieren, die möglich ist, um die extreme Grausamkeit des Films zu vermitteln, wobei man sich einen Soundtrack für den grausamsten und zynischsten Slasher-Film aller Zeiten vorstellt.

Was für den einen Müll ist, ist für den anderen ein Schatz, und so ist es auch bei einem so schäbigen und abscheulichen Film wie "The New York Ripper". In Duck Face Killings" leuchtet Fulcis brutale Darstellung der gewalttätigen Welt seines Mentors wie der Schimmer von Blut unter den Straßenlaternen von New York, schockierend und wild. Eine Hommage an den kontroversen Meister in all seiner dekadenten und degenerierten Pracht.

- Die mit Spannung erwartete 4. LP der italienischen Lucio Fulci-Fanatiker, basierend auf seinem Film 'The New York Ripper'.
- Cover-Artwork von Wes Benscoter (Autopsy, Sinister, Mortician, Broken Hope, Nile)
- Gastauftritte von Lord Goat von Non Phixion und Sherwood Webber von Skinless
- Komplette US Devastation in the Nation Tour im November / Dezember 2024 mit Morbid Angel, Suffocation, Mortiferum und mehr.

FFO: Cannibal Corpse (TOTM, The Bleeding), Dying Fetus, early Madball, Merauder, Mortician, Skinless, 100 Demons, Goblin, Giorgio Moroder, Devourment, Suffocation, Slayer, Crowbar, Bolt Thrower, Immolation, Non Phixion, Franco Micalizzi, Monstrosity

Für das vierte blutrünstige Album der Band und das erste für 20 Buck Spin, nachdem sie sich in den letzten Jahren im Death Metal-Underground immer mehr einen Namen gemacht haben, präsentiert Fulci "Duck Face Killings", eine Hommage an einen von Lucios abscheulichsten und meist geschmähten Filmen, "The New York Ripper".

Musikalisch entfesseln Fulci eine Flut von fesselnd grausamen Riffs, blutigem Gemetzel, mörderischen Schlägen, tiefen, gutturalen Gesangsmustern und unheimlichen Intros und Zwischenspielen. Das Songwriting der Band ist bewusst darauf fixiert, die brutalste und schärfste Musik zu kreieren, die möglich ist, um die extreme Grausamkeit des Films zu vermitteln, wobei man sich einen Soundtrack für den grausamsten und zynischsten Slasher-Film aller Zeiten vorstellt.

Was für den einen Müll ist, ist für den anderen ein Schatz, und so ist es auch bei einem so schäbigen und abscheulichen Film wie "The New York Ripper". In Duck Face Killings" leuchtet Fulcis brutale Darstellung der gewalttätigen Welt seines Mentors wie der Schimmer von Blut unter den Straßenlaternen von New York, schockierend und wild. Eine Hommage an den kontroversen Meister in all seiner dekadenten und degenerierten Pracht.

- Die mit Spannung erwartete 4. LP der italienischen Lucio Fulci-Fanatiker, basierend auf seinem Film 'The New York Ripper'.
- Cover-Artwork von Wes Benscoter (Autopsy, Sinister, Mortician, Broken Hope, Nile)
- Gastauftritte von Lord Goat von Non Phixion und Sherwood Webber von Skinless
- Komplette US Devastation in the Nation Tour im November / Dezember 2024 mit Morbid Angel, Suffocation, Mortiferum und mehr.

FFO: Cannibal Corpse (TOTM, The Bleeding), Dying Fetus, early Madball, Merauder, Mortician, Skinless, 100 Demons, Goblin, Giorgio Moroder, Devourment, Suffocation, Slayer, Crowbar, Bolt Thrower, Immolation, Non Phixion, Franco Micalizzi, Monstrosity

“Valsadeira” is a pulsing uptempo excursion from the African island nation of Cabo Verde, with driving percussion, impassioned vocals, and tasty synth work. Sung in Portuguese, the track begins on a romantic note which builds toward a dramatic flip halfway through that gives way to a hypnotic tropical vamp. The drum tool extends the rhythmic breaks of the song into a useful standalone percussion jam. Odo Kakra Sika Kakra is a bouncy and joyous slice of Ghanaian highlife. With crisp 90s-era production and sweet vocal melodies, JKriv edited this one with love for maximum booty shaking and smiles. "Batonga" is a mid tempo slice of Afrofunk with a mid 1980s downtown NYC feel, led by angular and funky guitars, layered synths, and a female vocal with African chants. The drum break features a textured beat including big electronic drums, percussions and an interlocking kalimba line.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Nach Paramores Coverversion von "Burning Down The House", Teezo Touchdowns "Making Flippy Flop" und Lordes "Take Me To The River" hat A24 Music nun das vollständige Tracklisting und das Veröffentlichungsdatum für “Everyone's Getting Involved: A Tribute to Talking Heads' Stop Making Sense” bekannt gegeben. Das Projekt wird am 17. Mai digital erscheinen, die physischen Formate folgen am 26. Juli und können ab sofort vorbestellt werden. Die 16 frischen, aufregenden und überraschenden Neuinterpretationen umfassen die gesamte Tracklist des Originalalbums und schaffen neue Inhalte für langjährige Talking Heads-Fans, während sie eine neue Generation mit der Magie dieser Songs bekannt machen. Die brillante Auswahl der Künstler kontextualisiert Stop Making Sense in der populären Musik und Kultur neu, wobei der Schwerpunkt auf der generations- und stilübergreifenden Bandbreite liegt.

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Two times UK Blues Award winner second album for APM Records released on CD. HSLB carries the narrative of a bluesman upto no good who when his world falls apart, admits what he’s done and atones. Produced by Phil Dearing (Eliza Carthy, Gretchen Peters, Lauran Cantrell). Features special guest Vaneese Thomas (daughter of Rufus and sister to Carla Thomas). Radio for HSLB : no.1 IBBA radio chart two months running , Top 50 iTunes Blues album chart (US) / no.3 Roots Music Report Blues Album (Global)/ no.1 Roots Music Report Blues song ‘Blind Leading The Blind’ (Global) / Top10 Living Blues radio chart (US) / Top 20 National College Radio (US), airplay on 50 stations (US) / airplay in Netherlands, Australia, Canada, Switzerland, Croatia, France, Italy, Germany, Israel Press for HSLB : Blues In Britain front cover, reviews Blues Matters, Blues in Britain, Rock & Reel, Living Blues (US), Blues Blast (US), Charlotte Blues Society (US), Blues Roadhouse (US), Big City R&B (US) Bluestown (NL) “Mississippi MacDonald riffs like a fabulous Albert King circa his Stax days”. • Mississippi MacDonald is playing: Love Fields Stage-Glastonbury, Linton Blues Festival, Dereham Blues Festival, Brightlingsea Festival, Over The Hill Festival, Mississippi MacDonald won Traditional Blues Artist of the Year 2024 and Acoustic Blues Artist of the Year 2024 at the UK Blues Awards in April. HSLB Nominated for UK Blues album of the year

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

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

LRK are excited to announce their next full album release LRKLP-08

'ALL I EVER WONDER' By Johnny Burgos

Available on LP/CD/DIGITAL

Singer, songwriter, and producer Johnny Burgos converges with veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom) to offer their first joint album together titled, 'All I Ever Wonder.' The album is a vividly vulnerable and honest effort by Burgos, lyrically and vocally, supported effortlessly by Page's masterful production. The pairing of the two seems meant to be, with a sound steeped in retro soul techniques, the album is equal parts novelty and nostalgia, equalling a timelessness that speaks to the humanity in all of us. All I Ever Wonder will be released on Vinyl, CD and all digital platforms on Friday, JUNE 28th, 2024 via UK-based Soul label LRK Records.

Johnny - "Jeremy and I have been ships passing in the night for years now. However, our first official collaboration was a 2021 remix of my song The Grey, which featured his long-time co-collaborator Kendra Morris. From the get-go, the musical chemistry was strong, so we took a shot at writing some original tunes. Since then, we've locked in on a creative groove and churned out a bunch of material. As we learned how to complement each other's musical strengths, the project took on more form and purpose, exploring heavier subject matter and expanding its range of genres. I'm pretty sure that's what makes this project so fun for us, and possibly what the early gatekeepers and listeners resonated with most. Neither of us expected such a reception to the music, which only made us more excited to hone in with more intention towards a goal. This also allowed me to bring more raw ideas to the table and have the confidence in Jeremy to hear the potential, then work his magic to extrapolate on my foundation. The teamwork in this effort was inspiring as we listened and referred to each other in every step of the process, and had a crew of killer musicians on deck for when we needed the extra feels on some joints.

We worked really hard on this record and hope it reconnects our listeners to being human in a visceral way. It's accessible, honest, and soulful because I wanted it to speak to anyone who still wants music to relate to. Music to help you through the valleys, to celebrate the peaks, and handle everything in between. It's a journey of the soul that explores ego, insecurity, love, loss, survival, enlightenment and trusting the process. It's truly 'All I Ever Wonder.' "

"All I Ever Wonder" will have its digital release through LRK Records on all platforms on Friday, JUNE 28th, 2024.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of future-soul embodies a raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting. Especially influenced by his uncle and world-class percussionist, Andre Martinez, Johnny grew a fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion for Hip Hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of Hip Hop, Funk, Pop, Salsa and Reggae.

Johnny has collaborated with DJ Skizz, for Mobb Deep & M.O.P., Marco Polo, Frans Mernick, Liza Colby (The Gold Setting) and led his band Bridge City Hustle, with whom he toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung US, using them as a platform to launch his 2018 EP 'Love Through it All.' His debut album 'Gone Into The Grey' was released to critical acclaim in March of 2021 and has since been added to multiple editorial playlists by Spotify, Apple Music and Tidal, creating exponential growth. In 2022, Burgos' song 'Wild About You' was heard as the soundtrack to Neiman Marcus' "It's Your Moment" global streaming campaign. Johnny's currently amid promoting his latest album, The Tangent Tape, performing with his band The Butter, recording new collaborations and preparing his upcoming LP with Jeremy Page & LRK Records.

credits

releases June 28, 2024

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

oreglo is made up of c-sé (keys), Linus Barry (guitar), Nico Rocco (drums) and Teigan Hastings (tuba), who all met growing up in London. Nico and Linus met at secondary school, before Nico went on to meet Teigan and c-sé through the youth organisation Tomorrow’s Warriors, bringing them all together.
Across the Not Real People EP, oreglo showcase their innovative take on multiple genres: freewheeling through heavy rock riffs to drill-inspired percussion and breezy reggae, the quartet have cultivated a unique sound that acts as a melting pot of all the sounds they know and love from London.
Since officially forming just over a year ago, they've already been hand-selected by Ezra Collective to win the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition; played the recent Steam Down–curated World Island event in Leeds; supported Gabriels at Somerset House; composed for The 1975's North American tour; and have seen support from Steve Lamacq, Jack Saunders + more across national radio.

Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

Although For The Longest Time She Has Been A Chicago Resident, Ruby Andrews's Wonderfully Dramatic Vocals Sounds Like Straight From The Deep South Of The Usa. Actually, That Is Where She Was Born In Hollandale, Mississippi, In 1947. She Recorded At Least Six Albums That Are Each Highly Treasured By Soul And Funk Fans All Over The World. Black Ruby, The Brilliant Second Lp From This Marvelous Soulsinger First Appeared On The Zodiac Label In 1972. Just One Minor Nationally Charted Hit Came Off The Lp. But As A Whole It Is Even More Revered Than Her Hit-laden Predecessor Among Soul Aficionado's. It's Considered An Exemplary Classic Of A Deep- And Chicago-soul Album. The Music Has Re-appeared Some Times In One Form Or Another But The Lp Was Never Before Fully Reissued On High Quality Vinyl! Everland Is Thus Very Proud To Re-present The Black Ruby Album In Closest To Original Format With That Beautifully Designed And Shiny Psychedelic Album Cover. A True Gem Indeed.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Seven years after its last LP, the Del McCoury Band returns to take on the challenge with Songs of Love and Life. A glorious 13-song collection, the album follows 2021’s celebrated release, Almost Proud, and once again features Del touching down on a diverse set of tracks--vintage and contemporary--as he and his crackerjack Band nod to icons Kenny Rogers, Roy Orbison, and Elvis Presley, as well as welcome next-generation talent, Molly Tuttle, to the party.

Produced by Del and his son, Ronnie, Songs of Love and Life showcases one of the greatest storytellers in music, delivering another rousing assembly of absorbing, compelling, and unforgettable tales.

Still, even among the pantheon of music’s finest artists, Del McCoury stands uniquely apart. From the nascent sound of bluegrass that charmed hardscrabble hillbilly honkytonks, rural schoolhouse stages, and the crowning glory of the Grand Ole Opry to the present-day culture-buzz of viral reels and digital streams, from Bill Monroe to Billy Strings, it is Del who’s the living link. And, like any genuine national treasure, the gifts keep coming.

With beauty and precision, Del and the boys bring home another endearing album of traditional bluegrass music. Brimming with hot licks, classic songcraft, and Del’s matchless vocal delivery, the Del McCoury Band and its latest, Songs of Love and Life, once again raise the gold-bar standard of bluegrass yet another notch. This is a baker’s dozen from a bushel; the best songs Del’s selected from the bounty to meet his latest challenge. “I get a big feeling of accomplishment when I get a new record out,” says the 85-year-old legend. “I never get tired of it.”"

Soul Direction are pleased to announce a new member of the Family “Contempo Soul” series. This label will showcase more contemporary sounding soul from independent artists. Our first offering in conjunction with Kevin Edwards III, and with the help of Dave Thorley. The Keved Project (Feat. Delbert Nelson) – “Life Has Been a Thief” / “Spread Love” – SDCO-1001. Edwards was born in Hamtramck, Michigan in 1959. As a young boy listening to Jimi Hendrix play guitar on Band of Gypsies, he knew he wanted to be a guitar player. By 16 Edwards, was playing in a high school band and at local cabarets. In 1979 Edwards played with Sons, a local jazz band. The group played Top 40s in local venues and eventually opened for the nationally renowned group, Brainstorm, which recorded on the CBS label. Sons and Brainstorm merged in 1980. When Brainstorm broke up in the early '80s Edwards freelanced with several local groups. His career took a turn in 1984 when he began writing and recording his own music. Edwards drew from his experiences and the R & B and jazz classics he'd grown up listening to as his inspiration for writing. Two years later in 1986, Edwards expanded his skills even further when he started producing young local talent. He and a partner produced Rhapsody, a rap group that released several singles on the Giant Record Label. The year 1998 saw the beginning of a new era for Edwards when he and long-time friends Darryl Lee and Greg Nance formed Ground Level. Ground Level enjoyed tremendous success, opening for the Isley Brothers, LL Cool J, Roy Ayers, Ronnie Laws and the funk group Slave. The band received accolades and grew in popularity. In 2003 the band changed its name to Level Rizon, signifying its new status and the fact that they are no longer at "ground level." Level Rizon took a year off of performing to produce That Vibe. With That Vibe Edwards feels he has started a whole new genre of music he calls "NuUrban Soul." He describes NuUrban Soul as a unique blend of jazz-fusion and R & B that has not failed to delight audiences of all walks of life. Kevin has performed with the late Michael Henderson (R/B recording artist known for You are my Starship, Sending a Valentine, Wide Receiver) in 2014. Kevin has also has a certificate in Audio Engineering from the Recording Institute of Detroit, Associates of Science in Electrical Engineering Technology from Lawrence Technological University, and Bachelor of Science degree in Electrical Engineering Technology from ITT Tech. Kevin built, and operates his own recording studio, and is continuously writing and recording new music..

Eleventh album consisting of eleven songs, Pink Air, by Elysian Fields, cult New York band led by Jennifer Charles and Oren Bloedow, was released in September 2018. Recorded in the mountains around Woodstock, Pink Air was finalized in Thomas Bartlett's studio (The National, Sufjan Stevens) in Manhattan. A single rock wave unites the tracks with its cavernous reverberation, as if shrouded in the darkness of a night club or pinned to the shadow of a modern nightmare. Pink Air is a post-apocalyptic rock'n roll getaway. The album tackles themes as varied as the ecological threat, the regime of a potential narcissist dictator, white supremacy, censorship, the erasure of history, the social drama of families ... as well as meditations on time, friendship, loss, death. Despite the biting tone, the words never sound too heavy, lightened by many touches of humor. Jennifer Charles's vocals are at their highest, infusing each song with its legendary languid charisma, in a lyrical breath whose spellbinding power has remained intact. By portraying the landscape of the present day with her precise, often caustic lyrics, Jennifer sets her special veil on the intimate, the spiritual, brushing her characters, friends and lovers, in a pure novelist style. All against a background of fear of our time, of its social and political drifts. With Elysian Fields, the angelic singer and her acolytes have always been carried by the highest currents of the sky. For Pink Air, they fold their wings, land on the ground, and roam the scorched lands of America, animated by the rock'n roll spirit of the animal. The feathers turned into so many spiky hairs

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

"Irish singer, songwriter, multi-instrumentalist, and producer, James Vincent McMorrow, returns to the fore with his seventh full-length album Wide open, horses, out June 14th, 2024.

Wide open, horses is a candid snapshot of everything that has brought James to this point. The album signifies a retaking of his own narrative, a freeing self-acceptance, and a rebuilding of both his sense of self and his connection to music. Singles “Stay Cool”, “Never Gone” and “Give up” offer a first taste of what fans can expect, leaning further into the introspective and sincere indie-folk sound of his earlier material, whilst incorporating elements of his more explorative later releases.

A unique and particularly special artist project, Wide open, horses was initially performed live having booked two nights at The National Concert Hall in Dublin, where he recorded a handful of lo-fi demos, practiced the material for a week, and then hit the stage prior to ever recording a single song. Phones weren’t allowed, but James recorded it to “see what worked and what didn’t work.”

James has beckoned listeners to open their minds and hearts since his emergence in 2010. Along the way, he gathered over 1 billion streams across an expansive catalog. Among many standouts, “Higher Love” went BPI Gold in the UK and ARIA platinum in Australia. His cover of Chris Isaak’s “Wicked Game” soundtracked the trailer for Season Six of HBO’s Game of Thrones and generated over 130 million Spotify streams on its Live At Killkenny Arts Festival version. Toppling charts, 2016’s “We Move” notably debuted at #1 in Ireland. At the same time, he lent his voice to “Hype” from Drake’s multiplatinum blockbuster Views, “I’m In Love” from Kygo’s Cloud Nine, and “Run Away” from dvsn’s Morning After, among others. Meanwhile, he’s sold-out tours on multiple continents, even packing the world-famous Sydney Opera House twice."

"Led by the legendary pianist and composer Chick Corea - 27-time Grammy winner and National Endowment for the Arts Jazz Master - The Elektric Band stormed onto the jazz scene in the mid-1980s, making an immediate and lasting impact on the genre. With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz.

Featuring a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. Their collective musicianship was on full display on each album, as they seamlessly blended complex compositions with captivating improvisations.

With each outing, the band explored new sonic territories, incorporating elements of funk, Latin and Afro music, and pop sensibilities. Their 5-album studio discography is a masterful tapestry of multi-layered music, showcasing their creativity, innovation, and musicianship."

'Monumental work that captures the transformation of Japanese jazz', Variation is a buzzing free jazz juggernaut that effortlessly bridges the gap between chaos and cool. First released in 1969, a year considered as the absolute pinnacle of free jazz in the nation (after which many artists also began to incorporate a national flair into their music), Masahiko Togashi was but one of a few composers to achieve widespread recognition for his craft at the time. This collab with Hiroshi Suzuki hears cuts like 'Suzu No Uta' blissfully enthrall with gossamer tuned percussion and trembling metal shakers, while ordered cacophonies like the closer 'Passion' describe the ups and downs of love through many a scalic decrescendo.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

ohann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.

Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.

"After an acclaimed run of performances at the National Theatre in 2018, Hadestown returned to London in February 2024 for its long-awaited West End premiere at the Lyric Theatre, Shaftesbury Avenue.

This Grammy award winning recording represents the Broadway show in its entirety. It features vocal performances by Reeve Carney (Spider-Man: Turn Off the Dark); Tony nominees Eva Noblezada (Miss Saigon), Patrick Page (Spring Awakening), and Amber Gray (Natasha, Pierre and the Great Comet of 1812); and Tony winner André De Shields (The Wiz).

Following two intertwining love stories - that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone - Hadestown, the 8x Tony-winning musical (including Best Score and Best Musical) by celebrated singer-songwriter Anaïs Mitchell, invites audiences on a hell-raising journey to the underworld and back.

Mitchell's beguiling melodies and innovative director and Tony Award nominee Rachel Chavkin's poetic imagination pit industry against nature, doubt against faith, and fear against love.

Performed by a vibrant ensemble of actors, dancers, and singers, Hadestown delivers a deeply resonant and defiantly hopeful theatrical experience. This album was produced by Grammy® winner David Lai (the 2009 West Side Story Cast Album) alongside Todd Sickafoose and Anaïs Mitchell, who also collaborated on Mitchell’s celebrated modern folk album Young Man in America. This is a new 2LP version in standard packaging making it cheaper than previous deluxe versions. 2 x 140g discs in a gatefold sleeve"

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own! The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it! Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails! They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc.. Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social. Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

With Folksong Distortions, Pauwels and Van der Aa create a journey of lament through the soul of times gone by. Their radical renditions of works by Larry Polansky and Christopher Trapanido not distort the more upbeat rhythm and tradition of folk songs, but rather reveal and highlight the essence of hard lives, imposed choices - choices that were illusions in the first place - and the difficult times and conditions they have always depicted.

Christopher Trapani arranged two classics from the U.S. South, effects. The work, developed in collaboration with Tom Pauwels and Liesa Van der Aa, was originally made and featured on ICTUS' American Lament programme. The duo was given considerable room for improvisation and interpretation in the process. The first song, 'Wayfaring Stranger', is a well-known folk/gospel melody in A minor. The lyrics contrast an aimless journey through a harsh, hostile world, with the Christian promise of heaven as a 'home' and reunion with lost loved ones. The second song, 'Freight Train', was written by Elizabeth Cotten, a left-handed guitarist who held her guitar upside down, resulting in a very recognisable strumming style.

Sweet Betsy from Pike and Eskimo Lullaby are taken from Larry Polansky's 2005 'Songs and Toads', a five-section piece that computer-composed pieces. The work was originally written for guitar, more specifically for the national steel guitar, refretted in a specific intonation designed by Lou Harrison. Each piece explores a different guitar tuning. A significant intervention to the original work is made to accommodate Liesa Van der Aa's violin with effect pedals, opening to an epic re-reading of the work as conceived by the American composer Larry Polansky. What this set-up enables is a melancholy, slow-paced approach that quite radically opposes the more upbeat and joyful nature of the folk songs.

Ultimately about self trust, Nicholson uses brooding chamber- pop and synthladen alt-pop to navigate many of the different relationships we have in our lives: friends, family, relationships with ourselves and, more personally, her changing relationship with music.

Self-produced by Nicholson at Blank Studios in Newcastle, the recording process was complemented by mix engineer Oli Deakin (CMAT, Benjamin Francis Leftwich, Elanor Moss) and mastering engineer Katie Tavini (Arlo Parks, Nadine Shah, Sega Bodega).

The resultant album takes the listener on intimate journeys of minimalism and melancholy through to blooming, euphoric ends, with Nicholson's signature rich harmonies and ethereal, reed- like vocals remaining a compelling constant. Exploring themes of escapism, nostalgia and self-reflection, Nicholson leans on musical influences including Daughter, Matt Corby, The National, Warpaint, Lucy Rose and Laura Marling. There are also nods to her prog-rock upbringing and 80s inspired outros that wouldn't sound out of place on the soundtracks to Drive and Stranger Things.

"Music From The Star Wars Saga – The Essential Collection is an orchestral music compilation including tracks from Star Wars: Episode I – The Phantom Menace until Star Wars: Episode VIII – The Last Jedi. On the occasion of the release of the final episode of the nine-part Star Wars saga: The Rise Of Skywalker, all songs are re-recorded by Robert Ziegler, alongside the Slovak National Symphony Orchestra and members of the Slovak Philharmonic Choir. These includes the iconic “Main Title” composition, “Duel Of The Fates”, “Yoda’s Theme” and “The Imperial March”. Music From The Star Wars Saga – The Essential Collection is available as a limited edition of 1000 individually numbered copies on red coloured vinyl. Music From The Star Wars Saga – The Essential Collection is an orchestral music compilation including tracks from Star Wars: Episode I – The Phantom Menace until Star Wars: Episode VIII – The Last Jedi. On the occasion of the release of the final episode of the nine-part Star Wars saga: The Rise Of Skywalker, all songs are re-recorded by Robert Ziegler, alongside the Slovak National Symphony Orchestra and members of the Slovak Philharmonic Choir. These includes the iconic “Main Title” composition, “Duel Of The Fates”, “Yoda’s Theme” and “The Imperial March”. Music From The Star Wars Saga – The Essential Collection is available as a limited edition of 1000 individually numbered copies on red coloured vinyl. This 2LP is housed in a gatefold sleeve and includes an insert. "

Music From The Star Wars Saga by Robert Ziegler, released 3 May 2024, includes the following tracks: "Anakin’s Theme", "Battle Of The Heroes", "The Throne Room / End Title" and more.

This version of Music From The Star Wars Saga comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

"Music From The Star Wars Saga – The Essential Collection is an orchestral music compilation including tracks from Star Wars: Episode I – The Phantom Menace until Star Wars: Episode VIII – The Last Jedi. On the occasion of the release of the final episode of the nine-part Star Wars saga: The Rise Of Skywalker, all songs are re-recorded by Robert Ziegler, alongside the Slovak National Symphony Orchestra and members of the Slovak Philharmonic Choir. These includes the iconic “Main Title” composition, “Duel Of The Fates”, “Yoda’s Theme” and “The Imperial March”. Music From The Star Wars Saga – The Essential Collection is available as a limited edition of 1000 individually numbered copies on red coloured vinyl. Music From The Star Wars Saga – The Essential Collection is an orchestral music compilation including tracks from Star Wars: Episode I – The Phantom Menace until Star Wars: Episode VIII – The Last Jedi. On the occasion of the release of the final episode of the nine-part Star Wars saga: The Rise Of Skywalker, all songs are re-recorded by Robert Ziegler, alongside the Slovak National Symphony Orchestra and members of the Slovak Philharmonic Choir. These includes the iconic “Main Title” composition, “Duel Of The Fates”, “Yoda’s Theme” and “The Imperial March”. Music From The Star Wars Saga – The Essential Collection is available as a limited edition of 1000 individually numbered copies on red coloured vinyl. This 2LP is housed in a gatefold sleeve and includes an insert. "

Music From The Star Wars Saga by Robert Ziegler, released 3 May 2024, includes the following tracks: "Anakin’s Theme", "Battle Of The Heroes", "The Throne Room / End Title" and more.
This version of Music From The Star Wars Saga comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

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

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Disco Segreta breathes new life into two of the most elusive and coveted italo disco tracks of all time!

Originating from the paradisiac island of Sardinia, Italy, Susy Pintus embarked on her musical journey alongside her brother at Radio Cagliari Centrale, one of Sardinia’s very first “free radios,” which opened its doors in 1977. Her singing career took flight in 1978, and by 1979, she attained national acclaim with her single “C’Est Magnifique,” a disco reinterpretation of the renowned Cole Porter track.

However, Susy’s most sought-after single undoubtedly remains her 1986 italo-disco 45 featuring the tracks “Fragile” and “Live for Your Love”. These compositions, expertly arranged by Italian jazz piano virtuoso Danilo Rea and superstar musician Aldo Tamborrelli, weave a captivating tapestry of sound using instruments like Yamaha DX7 and CP80, Roland Juno 60 and JX 8P, as well as the omnipresent Linn 9000. The result is a distinctive blend of italo-disco, synth-pop, and a touch of the “balearic” vibe.

Originally released in a limited run of 1500 copies on a 45, these tracks have become exceedingly rare over time, finding their way into the wishlists and collections of discerning italo-disco enthusiasts.

Now, Disco Segreta proudly reissues these two exceptional italo disco gems, granting them the expanded 12” treatment they rightfully deserve.

This deluxe edition includes the original tracks, meticulously remastered to meet contemporary standards without destroying the feel of the originals, along with two remixes of “Fragile” and “Live For Your Love” by Italian wonder Cosimo Mandorino aka Cosmo Dance.

South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.