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Repress

2017 REPRESS! This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with NIAGARA was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

LP edition now available!

Death Is Not The End present a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.

In early 1965, just as the West African High-life scene was starting to get boring, the revolutionary sound of Fela Ransome Kuti & His Koola Lobitos burst upon us. A strikingly original musician, Fela Kuti was trained at the Trinity College of Music in London. From the very first, he was influenced by those "greats" of the jazz world - Thad Jones and Miles Davis. He gained much practical experience gigging in his spare time with London-based jazz men. A very talented musician - Fela's primary instrument is the trumpet, but he is also a swinging pianist and rave vocalist, as well as a composer and arranger. A musicians' musician. To maintain his reputation as West Africa's leading musician, Fela continuously experimented with varying forms of High-life and other exotic rythmic patterns. The results of these experiments are evident on all the numbers on this LP. Even the old familiar tunes have that new and original High-life tempo that Fela has made his own. Many so-called original bands have found fleeting success on the West African scene - only to fade quickly into obscurity, but Fela's extreme talent has made him one of its perennial stars.

- First time widely available on vinyl legitimately since original release.
- Original copies can sell for close to four figures.
- Original artwork faithfully reproduced along with tough to find lyric insert

First album Outlander originally released in 1970 by MEIC STEVENS.

MEIC STEVENS was discovered by DJ Jimmy Savile (but don't hold that against him) in 1965
whilst performing in Manchester, this led to a single being released on Decca Records later that year arranged by John Paul Jones.

The single sold poorly and MEIC STEVENS retreated to his tiny home village of Solva in Wales in 1967, writing, recording and releasing a series of now incredibly rare Welsh language EP's.

This led to more work in the U.K and a recording contract with Warner Bros. The sublime Outlander was to be the first album of a multi album deal but both parties went their own way after extremely poor sales of the album.

Outlander is the only album he recorded in English, subsequent albums are in Welsh

Formed out of the ashes of the legendary UK mod-pop group, The Action, Mighty Baby kept much of that group's soul-inflected pop-psych sound but upped the psych ante quite considerably. Mighty Baby stands as one of the most cohesive and coveted of 1960s UK psych. It is the complete package, blistering guitar work from Martin Stone, studio trickery, amazing songwriting, great vocals, this record is the real deal and fully deserving of its reputation. The band would go on to record with legends like Keith Christmas, Sandy Denny, and more, as well as record a second album in 1971, but nothing can surpass the pure psych perfection of their debut.

Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980's, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm. He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn't taken over yet. There wasn't instrumental electronic music yet in South Afric a. As the '80s came to a close, that was about to change. Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold - which itself stems from band's channeling influences like Kool & the Gang and the Commodores - into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold. There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next. By the time Professor 4 and this recording Bafana Bafana - the name references South Africa's national soccer team - were released in the mid-1990s, k waito had fully emerged. Access to instruments and freedom of expression helped its rise in influence among youth. According to Mdluli, "Once Mandela was released from prison and people felt more free to express themselves and move around town, kwaito was becoming the thing." Lyrically, kwaito championed the local township lingo while adapting "international music," house music, into the local context. "International Music," as house music and early kwaito were interchangeably known, in many ways reflects the sounds coming from America. But South Africans made it their own. Today, the largest part of the music industry is occupied by house music and its relatives.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

The songs on Some Waking Woman come up like ragged wildflowers in the unnameable heel of wasteland between the end house of the terrace and the already-dated concrete and plastic of the new business park. The songs come up from the hot gap between the weird dissociative dreamscape and the phone-alarm of a slate Tuesday morningtime. They look out from the record with a gaze that's lost between doe-eyed affection and a murky voyeurism. They're made of a music caught between the battered nylon-string and a layered orchestration turning between lush and gritty.

It's between the pottery and the calcified dogshit, between the filthy rebels and the eerie loyalists, between the probable cause of an action not quite either the Frenchman's crime of passion or the English barfight. It's a record of between-ness - like, this is just between us, right It's the same gap between the ballad and the mumbled apology, the love song and the exasperated sigh. My trousers have been pulled down in the playground again. Tsk. I love you and all of love turns out to be a colossal shitshow. Tsk.

Some Waking Woman isn't an anthem nor an elegy, although it has moments of both. It isn't quite in the gutter, but it's sure as hell not looking at the stars - the album has its gaze locked on the school playground, or the overgrown tarmac country-road corner, or another identical dawn colouring in the PVC windowframes. In the hands of O. D. Davey, the ordinary surfaces of a life like the one everyone actually has are made to glimmer weirdly with the inevitable love, misery and resignation underneath them.

These are touching, intricate ballads with melodies of nursery-rhyme sweetness, as reimagined by a failed gameshow host humming his old theme-tunes as he staggers back home pissed after closing time. But they're songs of love, for all that, his daughters haven't called in months. The sense is that these narrators have more love than they know what to do with, move love than they can trust themselves to handle, more love than they can believe in. Davey handles the flaws and imperfections and fractures of day-to-day living, finds the gap and digs in. This is an attention paid to the agonising and lovely awkward corners of life that don't get talked about. This is a record as in an LP, but a record too in the sense of a setting down of something true.

-Joey Connolly, June 2017

Joan Baez is one of the most prominent figures of the 60s folk scene and a legendary musician, and activist. Growing up Mexican-American and in the Quaker faith in the 1950s created in Baez a strong belief in pacifism and a deep dedication to racial justice. After high school Baez moved to Boston and immediately fell in with burgeoning folk scene there, meeting the influential Odetta, and performing with Bob Gibson. It was her performance with Gibson at the 1959 Newport Folk Festival that led to her signing and this debut album, a truly fantastic piece of 1960s folk and the intro to one of the most important voices of the 20th century American left.

Maximum Joy is an aspiration, a claim to passion. To call a band 'Maximum Joy' is to ask a huge question - what is the very best you ever felt or hope to feel and more importantly how far can you take it' Silent Street is a new collaborative label from Chris Farrell (Idle Hands) and Kiran Sande (Blackest Ever Black). For their first release they're proud to present I Can't Stand It Here On Quiet Nights, a compilation of singles by one of our shared musical lodestars, Bristol's extraordinary Maximum Joy. The band was formed in 1980, by 18 year-old photography student and vocalist Janine Rainforth alongside Tony Wrafter, a trumpeter/saxophonist previously affiliated with Glaxo Babies. Wrafter's former accomplices, Charlie Llewellin (drums) and Dan Catsis (bass), completed the original line-up, alongside erstwhile Pop Group guitarist John Waddington. With a youthful confidence and energy that leaps out at you even now, they took their diverse influences - punk, modern jazz, disco, dub, funk, soul, early hip-hop, Afrobeat and chansons - and distilled them into some of the greatest, most intoxicating pop music ever made. Together they carved out a story which today stands as a sumptuous feast for anyone interested in the roots and evolution of "the Bristol sound". Along with prior associations with The Pop Group and Glaxo Babies, there are links, back and forth, with The Slits and Dennis Bovell, Adrian Sherwood and On-U Sound, the Berry Street hole in the ground' studios, and so on, through to the Wild Bunch, Massive Attack, Smith & Mighty, and Tricky's 'Aftermath'. Thirty-five years on its impossible not to be blown away by their combination of instrumental virtuosity and DIY pluck, and by their fearless application of disorientating dub FX. In terms of open-minded, progressive and life-affirming music made in the post-punk era, little else comes close. I Can't Stand It Here On Quiet Nights - the first ever official UK reissue of Max Joy material - is centred around the trio of singles the band released on Y Records between 1981-1982. Their first, 'Stretch', was licensed to seminal American label 99 Records and soon after became an anthem on the New York club underground, a cult staple at Danceteria and on late-night radio. This comp gives pride of place to their first B-side, 'Silent Street / Silent Dub': a languid, haunting tribute to long summer nights in St Pauls (where the Idle Hands shop presently resides) and specifically the Black & White Cafe, where dub-reggae reigned supreme, 24/7'. Llewellin's mesmerising one-drop kit and Catsis's outrageously heavy bassline anchor the track, allowing Rainforth's exquisite vocal and Wrafter's trumpet to soar within the intense, expressionistic dub mix. In both subject matter and execution it is the definitive Bristol tune. 'White And Green Place (Extraterrestrial Mix)', 'In The Air', and wistful instrumental 'Simmer Til Done' also feature, the non-Y bonus is the 12' version of 'Do It Today', Maximum Joy's contribution to the Fontana compilation Touchdown, which originally came out in '82 as a white label split with The Higsons. I Can't Stand It Here On Quiet Nights will be released on 2x12' vinyl, with sleevenotes by Janine Rainforth, Tony Wrafter and Kevin Pearce. Time to acquaint, or reacquaint, yourself with the eclectic, exhilarating work of Bristol's finest, brightest pop idealists.

Mesmerizing arabesques & heart-breaking laments from Southern Albania.

A thrilling Introduction to Saze, one of Europe's richest but most overlooked musics. Co-produced by Joe Boyd (Pink Floyd, Nick Drake. R.E.M.) & recorded by Grammy winning engineer Jerry Boys (Buena Vista Social Club). Gorgeous, spirited and deeply moving.

"Albanian saze is a haunting, often melancholy style that features clarinet, violin and complex iso-polyphonic singing that combines at least two melody lines. This powerful music is little known outside southern Albania, but that could change thanks to Saz'iso, a group of virtuoso musicians who came together with help from Joe Boyd, a producer who has worked with everyone from Nick Drake and Fairport Convention to Cubanismo and Songhai." - The

Guardian



"Boyd wanted to record Saz'iso's music as though it were a Blue Note session or Deutche Grammophon string quartet, and their debut is refreshingly free

of the hi-def faux intimacy that plagues world releases" - The Wire



"Why not give yourself a break from the unending cavalcade of modern

high-speed insanity, and rest up with this album of deep soul from Southern

Albania." -Ry Cooder

LP with printed sleeve After more than 1 million album sold around the world, Jay-Jay Johanson presents his 11th album.

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

The majority of the songs for Jerry Garcia's debut solo album Garcia (1972) were first recorded by Jerry and Bill Kreutzmann (drums) as simple acoustic guitar and drum tracks with Jerry then overdubbing all other parts. This was the first studio album to be released by the Grateful Dead family for over a year, the last being the Dead's American Beauty. As a result it benefited from some stellar new Garcia / Hunter compositions, six of which became regulars in the Grateful Dead repertoire: "Deal," "Bird Song," "Sugaree," "Loser," "To Lay Me Down" and "The Wheel." It reached No. 35 on Billboard's album charts - the peak of Garcia's solo career.

Jerry touched on the album in an interview with Rolling Stone: "I'm doing it to be completely self-indulgent musically. I'm just going on a trip. I have curiosity to see what I can do, and I've a desire to get into sixteen track and go on trips that are too weird for me to want to put anybody else I know through. And also I want to pay for this house."

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

Originally released in 1974, Jerry's second solo effort was once again simply titled Garcia but to distinguish it from his eponymous 1972 debut, the album took its revised name from a "Compliments Of" sticker which appeared on promotional copies of the album. It was produced by long-time collaborator John Kahn, who selected the compositions with the exception of "Russian Lullaby," and it peaked at #49 on the Billboard charts. In addition to a track list that features classics from artists like Chuck Berry, Smokey Robinson, and Peter Rowan, Garcia (Compliments) also boasts an all-star cast of the '70s most in-demand session players including drummer Ron Tutt (Elvis), guitarist Larry Carlton (Steely Dan, Joni Mitchell, Fourplay), organist Merl Saunders, and legendary backing vocalists Merry Clayton and Clydie King.

"Most of those songs I didn't know...so I went in there like a studio vocalist, with the lyrics - most of them I'd only heard one or two times," Jerry explained. "That was one of the few times when I didn't really go on a trip about the material. I let John do the material selecting, except for a few suggestions like Russian Lullaby, which was one of mine."

A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession.

The international audience's interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, 60s and 70s which largely encouraged the discovery of this music beyond Indonesia's borders. Taking advantage of a more advanced technology compared to the vinyl golden era, the present field recordings produced in 2011 render at the closest the power of gamelans. They are presented here in two forms. The first one offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect of the compositions. The second one presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse.

With The Gamelan of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (Sublime Frequencies, 2016).

«... The Azmari are singers and musicians wandering through the territory of Ethiopia. They carry the stories of different worlds, the sagas of cold lands with wispering winds, of flying islands, of ancient dances on the top of red mountains, of the demoted Ethiopian Princes and their doubles ... " by chronicler Tekle - Ezana (1698)

Vespero, the southern Russian wonder band formed in Astrakhan, time and time again refining their means of expression from a intricate blend of space- and retro-progressive rock with various other inspirations. This time there is an exploding mixture of afro-beat and space-kraut that paves the way to new uncharted territory. For fans of Fela Kuti, Mahavishnu Orchestra, Gong and the Ozric Tentacles. "Azmari: Abyssanian Liventure" is a live album from the VESPERO`s "Liventure" series. Recorded live in different locations in 2015-16. Azmari' shows the power of live performances of the septet. This vinyl edition includes 3 extra track not available anywhere else.

Quality pressing by SONY Austria.

Live 9 track album from legendary singer/songwriter. Originally released in 1976 on Columbia Records. Recorded during the second leg of the 'Rolling Thunder Revue'. Black 180gm vinyl.

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi's Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant.
Singer, songwriter, dramatist and theater director Koharu Kisaragi sadly passed away 14 years after her very short musical career, single Neo-plant and her LP Tokai No Seikatsu her musical legacy. Ryuichi Sakamoto after featuring on over two hundred different releases over four decades is still creating music in varying capacities. His most recent 16th solo effort async has been met with fantastic reviews.A-side Neo-Plant is a sample heavy, avant-garde, synth pop piece driven by early hip hop and dancehall rhythms. The B-side is a completely different affair, Traumerei a minimalist piece takes more from Japanese folk with Koharu's voice swooning over bassoon melodies, finally Tail is a new age gone in a flash instrumental.Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12' vinyl.

Death Is Not The End reissue a rare early LP from Chilean composer, songwriter, folklorist, ethnomusicologist and visual artist Violeta Parra.

In this collection, Volume III of Parra's Folk Music of Chile series, Parra introduces us to the Cueca, a traditional folk music style and Chile's national dance, which is sung and danced at parties and festivities. Although Cuecas were played on the radio, Parra introduces listeners to popular forms of Cueca she recovered in her field work collecting traditional songs. Navigating Chile's thin land mass from Santiago to Concepción, Parra heard people in the countryside performing these songs. In her introduction, Parra identifies four types of Cueca: the short Corta, the waltz Valceada, the long Larga voluntaria, and the Balance/obligatoria where the singer individually calls on a man and then a women to dance. Casting herself in the role of ethnomusicologist, this intense musical investigation of Chile's popular folk song traditions went on to greatly influence Parra's own songwriting. The connection with her country's traditions earned her the reputation as Chile's foremost poet and folk singer.

Violeta Parra was born on the 4th October 1917 in San Carlos, Chillán, south of the country's capital Santiago. Her father was a music teacher and her mother a campesina (farmhand). Music was entwined in the family environment and she started to sing from the age of ten. After leaving Chillán to study in Santiago in 1934, she started singing traditional Latin American boleros and Mexican corridos in the capital's bars with her siblings. In 1952 Parra and her brother Nicanor began collecting and recording folk songs from the country. Eventually comprising five volumes of El Folklore de Chile, released between 1957 and 1961. In 1963, whilst in Paris, she recorded songs that would be posthumously released on Canciones reencontradas en París in 1971. These songs cemented Parra's reputation as a socially concerned song writer and included songs such as Arauco tiene una pena which describe the struggle of Chile's indigenous Mapuche people against colonialism. Another, La Carta, denounced the repression of the Jorge Alessandri's Government (1958-1964) during which Parra's brother Roberto was incarcerated for supporting striking workers. Such songs repurpose the time-signatures and phrasing of the Cueca's to make some of her most candid political statements.

As well as a musician, Parra was a practicing artist working with traditional textile techniques to make arpilleras (tapestries). She exhibited her paintings, sculptures and arpilleras at the Louvre, Paris in 1964, the first solo show by a Latin American artist. The influence of the Cueca emerges once again in Parra's last album Las últimas composiciones de Violeta Parra, 1966 (her Last Compositions) which included some of her best known songs such as Gracias a la vida. The album also serves as an auto-eulogy, Parra was giving her thanks to life before her suicide in 1967. Gracias a la vida has become an anthem for Latin Americans and has been extensively covered by artists including the Argentine Mercedes Sosa, Joan Baez and Chileans including Parra's own children Isabel Parra and Ángel Parra. Parra left an indelible mark on Chilean Music and inspired a generation of musicians of La nueva canción Chilena (The Chilean New Song). The movement celebrated the country's folk traditions and indigenous past and present with incredible social commitment for which Parra set the tone.

The last song on the first side of Parra's Last Compositions includes La cueca de los poetas (The Poets' Cueca) written by Violeta and her brother, now the established poet Nicanor Parra. The Poets' Cueca is a homage to Chile's poets Gabriela Mistral, Pablo Neruda (both nobel laureates) and Vicente Huidobro. Through the Cueca, Parra's later oeuvre is linked with her earlier field work collecting the songs in this volume. In Gracias a la vida, Parra speaks of the various gifts life gave her. In return, Parra's poetry and song gave a lot to her audience. Her voice resonates through the cultural landscape of Chile one hundred years after her birth. The 4th October, the day Parra was born, is now Chile's National Day of Music and Musicians, a testament to the mark she left on her county. Many of the songs in this volume might have been lost had Parra not tirelessly worked to preserve them. Parra's closing words on this volume speak to her generosity in helping listeners to understand more about Chilean song traditions:

"Well, here I leave you this little gift of Chilean Cuecas. I hope you listen to them again and again and that you take away some conclusions about our Cueca, as I have done through my trips to the countryside and my years collecting."

- Sebastian Bustamante-Brauning, 2017

THE OCEAN IS CLOSED is a collaboration of music ensemble zeitkratzer with performance group She She Pop.

Play - according to the cultural historian Johan Huizinga - is a free activity carried out within certain fixed boundaries in time and space according to voluntary, but necessarily binding rules. It has no goal outside itself and is accompanied by a feeling of excitement and joy. It creates social alliances that for their part often surround themselves in a secret or set themselves off from the everyday world by means of disguise.
In THE OCEAN IS CLOSED the "modern composition super group" (THE WIRE) zeitkratzer and the performance collective She She Pop observe each other across the limits of their own categories. They look in fascination at their "exotic" colleagues. Outside eyes and ears are interested in different things, ask the right wrong questions, misunderstand the agreements and breach basic laws.

She She Pop and zeitkratzer play a concert: secret, order and ocean. They celebrate music and play per se.

The Very Best of Johnny Cash's Pop and Country Hits Released on Sun Records During 1995-1961 By the Label's Most Consistently Successful Artist.

This is part of the 60th anniversary of the release of Johnny Cash's fi rst LP in 1957, Sun Records and Charly Records are proud to present the very best of the iconic singer's 7-inch hit singles on Sun including: I Walk The Line', Cry!

Cry! Cry!', Folsom Prison Blues', Ballad Of A Teenage Queen', Home Of The Blues', and many, many more.

Greatest Hits' features 20 classic Johnny Cash hit songs newly remastered from the Original Sun Master tapes, mastered at half-speed for unrivalled sound quality. It will be released as an LP pressed on 180g heavyweight audiophile vinyl complete with Sleeve Notes by Sun Entertainment Corporati on President John A. Singleton.

The Rebel Sings is a collection of Johnny Cash recordings as released on six U.S. EP's in the late fifties. Don't Take Your Guns To Town', Cash's breakout single on Columbia, Five Feet High And Rising', Frankie's Man, Johnny' and Rock Island Line' are among the hits here. The final four tracks show Cash's penchant for concept' albums. The Rebel - Johnny Yuma' (the theme for the Western TV show The Rebel') was a
hit single. With the addition of Remember The Alamo', The Ballad Of Boot Hill' and Lorena', Cash presents four songs reminiscing on 19th century life in the West, something Cash would revisit frequently in his career.

Legendary folk singer Judy Collins began her musical career as a piano prodigy - the daughter of a professional musician and radio host - but it was the work of Woody Guthrie and Pete Seeger that inspired Collins to pick up a guitar in the 1950s and set her off down a career of folk music stardom. Originally released in 1962, Golden Apples Of The Sun is her 2nd LP and is mostly made up of traditional material rearranged by Collins and her unique and iconic voice. A classic of the 60s folk revival back in print on LP.

The debut release on Mare, Kevin Morby's new imprint with Woodsist Records, Shannon Lay's Living Water is an instant classic. Recorded by Emmet Kelly (Cairo Gang, Bonnie Prince Billy, Ty Segall) in his Los Angeles home studio, this is an album where the room reacts to the music taking shape around it.

Lay's voice transcends time and space. One can't tell if she's old or new, if she's sitting next to you, on a mountain top, or down in some canyon. Her second album to be released in 2017, she is a prolific songwriter, who lives and breathes melody, with guitar skills to boot. Despite its fourteen tracks, the album comes in well under forty minutes, but like Pink Moon or Just Another Diamond Day before it, this is music so potent it exists outside the realms of time—in a world specific only to itself and the new feelings it creates.

7th solo album finally reissued. Originally released in 1986. 11 track single black vinyl.

'We Are Vinyl' reissue - a 10 track single vinyl on 140 gm black vinyl with download code.

One of the best albums of the late '60s and Tim Buckley's most underrated album, "Happy Sad" was a change-up pitch for the eclectic L.A. singer/songwriter. Sounding like Fred Neil's albums, Buckley and his small, acoustic-based ensemble create beautiful, jazz tinged folk-rock. On red vinyl.