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Sour Grapes Records piece together the live LP of Nonagon Infinity on vinyl, with tracks made up of their sell outs shows across the years. The album features some of the best and most raucous live outings (Chicago, Barcelona, London) from each of the songs available on the infamous King Gizzard bootlegger series, one of the first of its kind. Available on red vinyl, with artwork designed by Jordan Warren.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

End of 2023, changes surfaced in and around me. In the middle of it, I decided to pack a bag, turn off my phone and leave for Los Angeles. I found this tiny house on Airbnb that had a studio in the back. I spent 95% of my time there, figuring out what was happening inside of me while writing demo after demo. When I came back to France a couple of months later, everything had changed, my old life was gone.



The year that followed was full of new experiences, feelings, habits and occasional songs. I went back to my parents’, rented a 22m2 apartment in Paris for 6 months, travelled to the other side of the world, ran a lot, started therapy, had sex, missed, chased and eventually held.


One thing that never left was the music. I’m so grateful for what it has brought and keeps bringing into my life every day.



Archwood is the playlist of these past 2 years of my life. It’s the name of the street where I stayed in LA. Archwood is a chapter I’m finally able to share and it feels very, very good.

First time ever on vinyl! Re-mastered re-release of Guido Belcanto’s 4th album, initially released by EMI Records in 1993. Another masterpiece by the King of The Broken Hearts!



For more than 40 years, Guido Belcanto has been creating a universe all his own with his songs—a warm, recognizable home for everyone, young or old, rich or poor, winner or loser. A home skillfully brought to a stage where the audience is free to be themselves without embarrassment—praising happiness, measuring the damage suffered, letting tears flow, and laughs ring out.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself - led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt - but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. After many years unavailable, we are now delighted to reissue their second album "¡¡¡Viven!!!" (2009) featuring new artwork by Mik Baro. It includes their classic originals 'Copa, raya, paliza' and 'Viva Link Wray!!!' as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales_ The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón. Please welcome again the undisputed kings of garage punk!

2024 Repress
If anyone in the reggae circles could be described as having their own sound it would have to be Mr Augustus Pablo, born Horace Swaby 1954 St Andrew Jamaica. He took the humble melodica a wind blown mouth keyboard and made it shine.

His musical journey started one sunny day in 1969. Walking into Herman Chin- loy's Aquarius Records shop and on playing his melodica so impressed its owner that he was taken off to Randy's Studio 17, the very next day to cut his first record 'Iggy Iggy'. But it was his second tune under the guidance of Clive Chin again cut at Randy's, the seminal 'Java ' that put the young Augustus Pablo on the map. Clive Chin continued his work producing Pablo's debut album 'THIS IS AUGUSTUS PABLO' . An instrumental affair on which the neo-mystical ''Far East'' sound synonymous with Pablo's work emerged.

Having worked with most of the top producers of the time,Lee Perry,Keith Hudson, Bunny Lee, Augustus decided to set up his own label "Rockers", named after his brothers sound system. Where many of his tunes would first be heard.The label came to define a new and exciting chapter in reggae history.Even when versioning acknowledged classic Studio One rhythms there was a precious maturity and depth to Pablo's productions that kept him at the top throughout the late 1970s and into the 1980s. His 'King Tubby meets the Rockers Uptown' set which featured some of these rhythms reworked; Swing EasySkanking Easy, Frozen SoulFrozen Dub, stands as one of the true dub classic albums of any reggae education.

This set of dubs are taken from his classic 70's period.All rare dubs straight from the masters. You may have heard the tune, but not these versions. So sit back and enjoy the Original Rocker..... STILL SOUNDS SWEET.

RESPECT....JAH FLOYD.

Rediscover some of the best Reggae tracks ever made in a double vinyl package.

Featuring : The Wailers – Errol Dunkley – Max Romeo – Horace Andy – Sly & Robbie – Tenor Saw – Chaka Demus & Pliers - Sean Paul – Sister Nancy – Yellowman – The Mighty Diamonds – Lee “Scratch” Perry & The Upsetters

2025 Repress

Portland was produced by our mate Dave Clark aka Sparky and was the first record we released in 2002, about a year before the first ever Numbers party took place.

Originally recorded live to tape using an MMT8, a Microwave II, and an ESi32 in the summer of 1998, it was released on an old label of ours named Stuffrecords and formed part of a somewhat rambling compilation called STUFF001. We hastily stuck this record out without any proper distribution, because at the time we didn't know any better. Despite this the record did pretty well, selling 500 copies to a few select stores who had faith in what we were doing.

Fast forward a year or so to when Numbers kicked off and the track became one of the first bonafide anthems in the club. It was our tune and it would tear the roof off at any of our parties.

A couple of years later, we booked DJ Pete, aka Substance, to play. We're talking about the record in the pub when he suddenly informs us that Ricardo Villalobos is crazy about it and even charted it. This was a deep, almost Drexciyan electro track and here was the king of crazy experimental minimal house music caning it in his DJ sets.

Not long after that night, the Numbers label was up and running and the idea to re-release Portland with a remix from Mr Villalobos was brought up almost as a kind of pipe-dream. Now in 2013, with a little help from Gerd Janson, it has finally happened. Recorded live in one take and clocking in at over 30 minutes long, it's cited as an "experiment" by Ricardo. Designed to play at two speeds, at 33rpm its almost like an early 90s Black Dog track stretched out to infinity, whilst at 45rpm, it's a club-ready groover with an almost Dopplereffekt rhythm to it - the sort you could imagine sneaking into a DJ Assault or Godfather Ghettotech mix. Somehow, it also manages to be classic Villalobos.

To finish off the record Dave gave us a two unheard tracks from those original Portland sessions in 1998. The malevolent electro of 'Jigsaw' would instantly have become another Numbers anthem if only Dave had let us hear it ten years ago, and closer track 'Wilson St' heads down an ambient route.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Dillinger one of the most consistently successful DJ’s to come out of the Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.

Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working asa DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.

We have taken our set of tunes from his classic 70’s period when Mr Dillinger could do no wrong.Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.

A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

Mutant is thrilled to partner with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey.

Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy.

The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense. We have pressed two versions of the score, one is a limited edition Lenticular edition strictly limited to 1000 copies pressed on multicolour Monkey splatter vinyl, and the other is an eco vinyl edition featuring a static sleeve. Both versions are housed in a printed outer O-Card. Composer Edo Van Breemen told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

Frank Sinatra - The Voice, Bing Crosby - Mr. Christmas, and Elvis Presley - The King: These legendary ar- tists have each left a lasting mark on the holiday season with their smooth classics, iconic hits, and rock ‘n’ roll cheer, bringing warmth and joy to Christmas celebrations worldwide.

2025 Record Store Day title - now available for general sale. A selection of top quality tracks from some of reggae’s legendary singers backed by some of the best musicians - Tyrone Taylor, Joseph Cotton, Errol Dunkley, Gregory Isaacs,Frederica Tibbs, J Nile featuring his son J Nile, Cornell Campbell, Jimmy James (of Jimmy James and the Vagabonds fame, one of the first Jamaican recording artists), Winston Reedy (Mr Dim The Lights – lovers rock king) , The Heptones - top Jamaican group who recorded countless hits for Studio One, and BB Seaton (one of Jamaicas best songwriters). Recorded at the Room in the Sky Studio, Tuff Gong Jamaica, Music Lab Jamaica, and Ariwa,. Musiciams: Sly Dunbar, , Winston Horseman Williams, Michael ""Megahbass"" Fletcher, Flabba Holt, Alan Weekes, Vin Gordon,,Noel Fish Salmon, ,Ashanti Selah, Bongo Herman.

Cool Up Records is excited to launch its latest 12" Maxi single with Spanish singer Yeyo Perez, featuring two tracks that each come in two versions. This Digital Reggae vinyl, titled "King inna di Ring/Burning in Flames," exemplifies authentic deejay style on the mic, infused with a rich homage to foundational Jamaican MCs.

On the A-side, "King inna di Ring" delivers a dynamic song powered by a powerful bassline and sharp lyrics. Yeyo Perez demonstrates his vocal talent and strong presence, with vocals that pay homage to the style of traditional reggae music clashes. The track’s music mainly comes from the old-school Casio MT-40 keyboard, providing that signature Digital Reggae rhythm produced by Cool Up.

The B-side features "Burning in Flames," where Coronel Brown joins with his smooth voice on the chorus, creating a powerful lovers rock song that blends well with Yeyo Perez's tougher style. Musicians Pedro Caballero on saxophone and Javibi Martin Boix on guitar contribute to a rich riddim with their impressive playing.

This release is well-crafted, with a dub and riddim version on the A-side and a sax and riddim version on the B-side, showing off Cool Up’s clever production skills. The cover art, designed by Mr. John Vanilla, keeps the style of previous singles and highlights his outstanding artwork.

This is the seventh 12-inch record from Cool Up Records, a must-have for Reggae fans, with more exciting records coming soon.

Jackie Edwards voice can be heard on 100's of Ska, R&B. Soul and Rocksteady records.
In fact all the in carnations that evolved from Reggae.
He was at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler.
Jackie Edwards (b. Wilfred Edwards 1938,Jamaica)was a renowned singer from the early days and by 1959 had presented future Island Records owner Chris Blackwell with two outstanding tunes.
The first a sentimental ballad 'Your eyes are Dreaming' and a Latin beat tune 'Tell me Darling'.
His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him.
This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie's compositions 'Keep on Running' and 'Somebody Help Me', which topped the British charts in 1966.
We have compiled some of Jackie Edwards finest songs..all cool tunes in different Reggae styles but all sung to perfection..
Hope you enjoy the set....

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

After a two decades long hiatus, One Self have reformed to present a new record – ‘Visions’ - to celebrate 20 years since the release of their acclaimed debut album – ‘Children of Possibility’ which was released on Ninja Tune and featured their indie hit single ‘Bluebird’. The ‘Visions’ EP sees Blu rum 13, Yarah Bravo and Daddy Vad rejoin forces with some special friends - Mr woodnote on the sax (DUB FX), Dj Woody, Reggie Watts and Meryem Saci to bring some organically grown soul to the hip-hop flavours the group are known for.

Lascelles Perkins was one of the first stars of the Jamaican music scene. Studio One's leading balladeer and one of the most underrated singers from that time. Lascelles Perkins sang sentimental ballads and he scored massive local hits for Coxsone Dodd's Studio One label. Songs like 'Lonely Moments' and 'Together Forever' other big hits followed 'The Mighty Organ' song as a duet with Hortense Ellis, Alton Ellis' sister, 'Destiny' and a whole catalogue of standards or foreign songs as they were called. Lascelles could sing any song, make it seem effortless and at the same time address it in his own unique style.

Lascelles Perkins was present at the birth of Studio One, at the initial sessions carried out in 1959 alongside the other big singers of the day, Alton Ellis and Basil Gabbidone. The session took place at Federal Studios and as was the method of recording at the time, the studio would have one mic hanging down in the middle of the room. The singer would be nearest to the mic and the musicians, depending on how loud their instrument was, would place themselves accordingly in the room. Everything was one take or you would have to record the whole song again. The singers and the musicians would have to be at the top of their game and would be paid for each side they cut. Doing things over would mean less songs finished, time and money was tight but this discipline made the great records we know today.

We have captured Mr Perkins on some lost tapes from producer Bunny Lee's archive that capture Lascelles singing some of the big Studio One hits of the day.

'Rain from the Skies', 'Stick By Me', 2Love me Forever' and 'No Man is an Island'. Alongside other great tunes from the time like 'Dancing Mood', 'Pledging My Love', 'Take My Hand', 'Never Never' and 'Dinner For One'. Let's hope this set gets Lascelles Perkins back on the musical map and listened to by a whole new audience. Top tunes performed in a style that seems effortless yet is only possible if one has the taken tot pull it off and Mr Perkins has it in bundles. Hope you enjoy the set.......

Scientist's name will be found on many dub releases in peoples record collections.His connection to King Tubby's studio is inseparable and many say when the dub end of Reggae music had fallen on quieter times it was Scientist with his often stripped back style and at other times, wild off the wall remixes that breathed life back into the dub cannon.

Scientist (born Overton Brownie,1960, Jamaica) was in many ways King Tubby's apprentice. Having helped his own father out repairing televisions and such like, he would help Tubby on winding transformer coils, that the amps of the day all needed. His interest in recording grew as he watched the many sessions taking place at Tubby's Dromilly Avenue Studio, learning the ropes as the musicians came and went. His first break happened when King Jammy (then Prince Jammy) was too tired to work on a session booked for producer Errol 'Don' Mais. Scientist engineered the session to every one’s bewilderment and great satisfaction.

His first hit would be a mix of Barrington Levy's 'Collie Weed' and his reputation built on the many versions he cut at Tubby's where he would become the engineer of choice. His pared down mixing style suited the new Dancehall reggae sound that came at the tail end of the 1970's and rolled into the 1980's. Such was his stature that albums were now sold with his name on their jacket, 'Scientist Vs Prince Jammy, 'Scientist meets The Space Invaders' to name but two.

His time at King Tubby's was followed as chief engineer working for the Hookim Brothers at the mighty Channel 1 Studio's and on many of top producer Henry 'Junjo' Lawes tracks, that were hit after hit at the time.

We have compiled some tuff tracks from the late 70's / early 80's just before everything went digital. Some great dub versions to some killer tracks that rocked the dancehalls around this golden time.The mighty Tristan Palmer whose killer cuts 'BadBoys','Stop Spreading Rumours','Eveready' and 'The Greatest Lover’ alongside Michael Palmer's debut release 'Mr Landlord' and Robert Trench's 'Mr Babylon'. The songs stand back-to-back with Tony Tuff's timeless 'Never Trouble Trouble' and the biblical Rod Taylor's 'The Lord is My Light'. Sammy Dread's 'Wah Dah Wah' and the always respectful Dennis Brown's 'Time and Place' all benefited a touch of magic from The Scientist and his laboratory of effects.

Hope you enjoy the set.....

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

ON THE ROCK is a cornerstone of the band formed by WISS, APPLE and SKELLY. Recorded and mixed at Leggo's Studio (Kingston / Jamaica) with the new version of the Roots Radics: Flabba Holt (bass), Dwight Pinkney on guitar, Carl Ayton on drums, Steve Golding on guitar and T-Bird Johnson on piano.

Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.

When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.

So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.

When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.

So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”