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For number 84 in the Brazil 45 Series, we head to the North of Brazil with this dancefloor monster, double-sider by Magalhães & Os Panteras.

'Xangô' by Magalhães is taken from his 'E Sua Guitarra' album, from 1986, and originally released on Gravasom Records. A stunning, driving Lambada track with haunting vocals and a compelling gusto energy. It has been gaining popularity over recent years with DJs and is a sure-fire get-out-of-jail dancefloor saver.

On the flip, we find another biggy from Os Panteras, 'Lambada Pauleira’. Also released on Gravasom Records, but a year later in 1987. It is best known for Joutro Mundo's fine re-edit of the track, but here we have it in its original form, in all its quirky brilliance. It is easy to see why, over the years, it has been a staple of some of Brazil's finest DJs’ sets, such as Augusto Olivani (aka Trepanado).

We are super happy to present these two red-hot tracks back-to-back. Now let the dancefloors return so we can heat things up!

- Next installment in BRAZIL 45 Series.

- Two dancefloor focussed cuts.

- Sought-after original of an edit made famous by Joutro Mundo.

Wewantsounds is delighted to announce the release of one of Japan's most coveted albums of the 70s, "Mangekyou" by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time "Mangekyou" is available outside of Japan, featuring remastered audio, original artwork and a 4 page insert including new liner notes by Paul Bowler.

It's been a while, but after some significant restructuring behind the scenes, Soul Flip is back in the groove, with a fresh new look, and more sweet, soulful sounds.

Chapter 16 of the Soul Flip story sees Del Gazeebo breathe fresh life into a couple of absolute classics, steering them directly at the dancefloor.

First up for the Soul Flip treatment is Sam & Dave's "Soul Man", Del somehow making an already big tune even bigger, and very much more DJ-friendly.

On the flip, Del takes the O'Jays original version of "Now That We Found Love" & injects it with fresh energy. It also retains the glorious strings from the album version that was edited out from the original 7" (UK only) release.

'Let Me Go' by South African House legend Jullian Gomes, Mule music producer and Sapporo based sound designer Kuniyuki Takahashi, and Sio fresh after recently signing an album deal with Stay True Sounds/Defected, is elevated with fresh interpretations from UK super-producer & house legend Atjazz and St Louis born Yoruba label boss Osunlade, alongside the amazing original cut. House music from all corners of globe…you need this.

All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period – Metal Banshee – a dub version of Superpredators which was a cover of Siouxie and the Banshee’s Metal Postcard – and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

Jawad Nawfal and Mazen El Sayed, better known by their stage names of MUNMA and EL RASS, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut’s Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and accapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo’s first recorded album. “Kachf el Mahjoub” (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CD’s, during a launch event at then-budding alternative venue Metro al Madina in Hamra, on the 22nd of February 2012. These CDs went out of print in record time, as can be expected, and the album’s mythical status became reinforced over time – El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of ours, here at Ruptured, to produce a vinyl version of this album, and we are thrilled to say this moment has finally come. Artist ALI RAFEI’s original artworks have been painstakingly reproduced, the music has been dutifully remastered for vinyl by CEDRIK FERMONT, and the records were pressed by our friends at Mother Tongue in Verona. We added bonus track "Fi Kala'at Tarablus" to this 10th anniversary reissue for good measure – recorded during the same sessions that yielded “Kachf el Mahjoub”, it appears on the digital version of the album. “Kachf el Mahjoub” is a landmark album in Lebanon’s alternative music scene, and the MENA region’s hiphop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former’s brazen, slammed vocals and the latter’s harsh beats works wonders on “Kachf el Mahjoub”, Munma’s sound-world perfectly fitting El Rass’s agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hiphop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The SpaceApe, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music.

Through the Looking Glass is the eighth studio album by English rock band Siouxsie and the Banshees. The album is a collection of cover versions. It was co-produced with Mike Hedges and released in March 1987 on Polydor. Through the Looking Glass was preceded by the single "This Wheel's on Fire". It was the second and final album recorded with guitarist John Valentine Carruthers. Some of their cover songs were praised by the original artists themselves.

48 tracks on a 3-LP collection – including: Queen, The Police, Blondie, Abba, Elton John, Donna Summer, Chic, The Boomtown Rats, The Clash, Meat Loaf, Pretenders, Billy Joel,

Electric Light Orchestra, The Specials, The Selecter, Gary Numan, The Buggles…

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

This rare Brit Funk 12” was originally released in 1984 and is now officially reissued for the first time. Licensed from producer Lindel Lewis, the 12” was heavily influenced by US Boogie and Disco and there’s a Dub influence at play as Lindel was also producing a lot of reggae around this time, most famously ‘Night Over Egypt’ by Mystic Harmony.

The 12” includes a previously unreleased Dub Version of ‘I Need You’ and was produced on two Analogue classics, Lindel says “I used a Linn Drum for the drums and played all synth parts using a Roland 106. I’m a classically trained musician and also a sound engineer, I worked at Mark Angelo Recording Studios for 18 years and have produced a great many artists. Steve Jones real name is Steve Myers, but I didn’t like the surname so changed it to Jones which felt more soulful. The name The Fat Boys came about because of the big bellies of myself the flute player Mike Appoh, my trainee engineer at the time. Ray Carlass played the sax solo, they have both now sadly passed”.

This long overdue reissue revives a standout moment in Brit Funk history, making it an essential addition for fans of classic Boogie and Disco. A 140 gram pressing in 3mm spine disco sleeve with labels and sticker designed by Bradley Pinkerton.

2024 Repress
"You've got to listen to this band, you'll really like them, I know." A Colourful Storm presents the first-time vinyl issue of one of the true treasures of modern pop music: Blueboy's The Bank Of England. The group of Paul Stewart, Keith Girdler, Cath Close, Ian Gardner and James Neville are Sarah Records royalty alongside The Field Mice, Heavenly, The Wake and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of 90's indie-pop and DIY. Mastered from the original recording tapes with assistance

What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative bands, Cibo Matto on top of all, but sure had a development on their own. Our history began in London, early eighties, art duo Frank Chickens is the original creation of Japanese performers Kazuko Hohki and Kazumi Taguchi. All of a sudden the band debuts with a pair of singles and a full length on Kaz Records, it’s 1984, but could have been easily 1994. Backed by the likes of Steve Beresford (Alterations, The Slits, General Strike, London Improvisers Orchestra), Annie Whitehead (Penguin Cafe Orchestra, Robert Wyatt), Lol Coxhill, Tony Coe and Clive Bell (the top of the cream of the English avantgarde) the band soon became a case in history. Now we have the pleasure – 37 years after its original release – to reissue their second album: Get Chickenized!

The record came out in 1987 on the british label Flying Lecords and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain avant feel. With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop. Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography. Later revamped in the year 2000 - thanks to cult label Ninja Tune – the band enjoyed a second wave of success, with a remix album featuring the likes of Pizzicato 5, Fink and Neotropic. With a cover embellished by the labor of Pere Ubu David Thomas, this second influential album is finally available for your listening pleasure. Here’s your chance to dive deep into this exotic pop extravaganza.

Robert Glasper’s holiday album In December was released last year as an Apple Music exclusive. We’re now able offer it widely available to physical retail and all DSPs!



Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.”



He succeeds on both fronts on In December, his holiday album that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hiphop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (The Color Purple), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.”

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

Die Schweizer Ausnahmekünstlerin Seraina Telli hat sich mit der bezaubernden Clémentine Delauney von Visions of Atlantis zusammengetan, um eine herausragende akustische Version ihres Hit-Songs "I'm Not Sorry" aufzunehmen.

Diese Unplugged Version reicht dem Original absolut das Wasser:
Mit der aktuellen und wichtigen Message und der reduzierten instrumentalen Untermalung schaffen die beiden Ausnahme Stimmen Telli und Delauney eine intime und fesselnde Interpretation des Songs.

Pedals is the second studio album from post-hardcore band Rival Schools, released 10 years after their debut record United by Fate was first released. Pedals was recorded by the entire original cast, whom were seen as a tremendous influence within the post-hardcore movement. Where United by Fate was an album often ready to burst at the seams with energy, Pedals shows a more matured and controlled feel, even somewhat experimental at moments with bass tones and frequent use of acoustic guitars and distortion effects. Much like the 2022 reissue of Rival School's first LP, this reissue features packaging updates curated specifically by the band to create the definitive version of this record. The album's artwork has been updated with new gatefold packaging and a slip-case cover along with an updated set of lyrics and liner notes. In addition to all ten original tracks, the second disc of this edition includes three b-sides and four live tracks.

“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.

The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.

"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.

"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.

Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.

Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.

The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.

‘Through Being Cool’ is the second studio album by American rock band Saves the Day, originally
released in 1999.

Nenas Debütalbum „NENA“ erschien 1983 und eroberte mit zahlreichen Hit-Singles schnell die deutschen Charts. „Nur Geträumt“, „Leuchtturm“, „99 Luftballons“, dieses Album brachte mehr als einer Generation Lieblingslieder für die Ewigkeit. 1984 wurde der legendäre Song „99 Luftballons“ zum Welthit und festigte Nenas Platz in der internationalen Musikgeschichte.

Nena: „Die Vision für den Song hatte unser Gitarrist Carlo Karges, als wir 1982 mit der Band bei einem Rolling Stones-Konzert in Berlin waren. Am Ende der Show ließen die Stones Luftballons steigen, die der Wind in Richtung Mauer und DDR trug. Beim Anblick dieses kraftvollen Bildes fragte sich Carlo, was passieren könnte, wenn jemand es missversteht. Er schrieb den Text noch in derselben Nacht und zeigte ihn mir am nächsten Tag im Proberaum. Allein das Lesen der Zeilen ließ mir einen Schauer über den Rücken laufen und ich wollte ihn sofort singen. Von da an war es nicht mehr zu stoppen(: ... Und solange ich auf der Bühne stehe, gibt es kein Nena-Konzert ohne die Luftballons."

Jetzt, gut 40 Jahre später, feiern Nena und BMG die Veröffentlichung ihres Debütalbums mit einer besonderen Jubiläumsedition. Alle Originaltitel wurden liebevoll von den Originalbändern remastered, um eine hervorragende Klangqualität zu gewährleisten und den Zeitgeist originalgetreu wiederzugeben. Neben dem remasterten NENA-Album enthält die Jubiläumsedition einen zweiten Longplayer mit weiterem unveröffentlichtem Material: Neben AMOUR CANDIDE, einer 1983 in den Rock n Roll-Archiven aufgetauchten und auf Französisch gesungenen Version des Songs „Nur Geträumt“, dürfen sich Fans auf spektakulär energiegeladene und bisher unveröffentlichte Live-Tracks von Nenas Konzerten aus dem Jahr 1984 sowie seltene B-Seiten freuen.

Diese umfassende und stilvoll zusammengestellte Jubiläumsedition gibt alten und neuen Fans die Möglichkeit, die Magie dieses legendären Albums neu zu entdecken.

Fresh rhythms. Gorgeous melodies. A powerful yet full touch that pleasantly stirs the emotions of the listener. The origins of the great pianist Masaru Imada are here.

Masaru Imada has been active as a professional since the 1950s and now has a career spanning 70 years. He has been at the forefront of music from hard bop to fusion, and has released over 30 titles as a leader. He is one of Japan's leading pianists in both name and reality. His powerful yet full touch creates a sound that pleasantly stirs the emotions of the listener. His first album, "Maki," can be said to be the origin of this. The performances by the trio or one horn quartet are so fresh and beautiful. The carefully woven "Autumn Leaves," the dynamic "On Green Dolphin Street," the ambitious "Gad," the ballad "Maki" dedicated to his beloved daughter, and the hot and cool "Sea Horse."

From standards to originals, his talent is fully displayed throughout the album. Released as part of the Victor "Japanese Jazz" series, this is an undoubted masterpiece. - Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Das im November 2000 erschienene dritte Studioalbum von Ivy, Long Distance, wird von vielen als ihr Durchbruch angesehen. Es ist stark von Trip Hop und New Wave beeinflusst, behält aber die Mischung aus Indie-Pop und Rock bei, für die sie bekannt geworden waren. Long Distance enthält einige der bekanntesten Songs von Ivy wie ,Worry About You", ,Undertow" und ihren unverkennbaren Hit ,Edge of the Ocean". Diese 25-Jahres-Jubiläumsausgabe enthält das unveröffentlichte Outtake ,All I Ever Wanted", produziert von Lloyd Cole im Jahr 1996 während der Aufnahmen zu ihrem Album Apartment Life. Als weitere Bonus Tracks sind außerdem ein Remix und das Original-Demo von ,Edge of the Ocean" enthalten.

For the remixes of her "tarde" single, nina kraviz enlisted an all star remixers team and worked on a psy version herself as well. Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it. The result is a dark love song about love so strong, it could almost break you.

Rapping at the window / Crying through the lock / Bells and running water / Influence on dusk.

Re-release of Blue Chemise's debut LP, which originally appeared in 2017 as a limited private release of 105 copies. BAADM make this much sought-after record available again on both physical and digital format, with remastered sound by Christophe Albertijn and updated artwork, all true to the original intentions of, and in close collaboration with, the artist.

‘Influence On Dusk’ forms an idiosyncratic cycle of fourteen mysterious, sometimes uncanny electroacoustic compositions, a personal and subdued eruption of 'melancholy of the healthy kind’, suddenly here and suddenly gone…

This is the second release on B.A.A.D.M. by the Australian artist Mark Gomes, following his equally atmospheric but more romantic 'Flower Studies' from 2021.

Available for the first time on vinyl! Sean Price aka Sean “Grinch” originally dropped this single and video in the holiday spirit in December 2012. “How Sean P! Stole Christmas” features Brownsville’s finest wreaking havoc on Christmas in the only way he can, and -- spoiler alert -- swiping gifts from under the tree is hardly the worst offense. Produced by Khrysis, this 7” single features dirty, clean, and instrumental versions, and is pressed on limited edition Neon Green Vinyl.

Suave saxophone master Dexter Gordon had been living in Europe for several years when he returned to make his final Blue Note album Gettin’ Around in 1965. This sublime set features a unique instrumentation with Dexter’s tenor the lone horn holding the spotlight with nuanced accompaniment by Bobby Hutcherson, Barry Harris, Bob Cranshaw, and Billy Higgins. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal..

Duke Pearson’s great 1964 album Wahoo! was a perfect encapsulation of his talents as a pianist, composer and bandleader. Writing for a sextet featuring Donald Byrd on trumpet, James Spaulding on alto, Joe Henderson on tenor, Bob Cranshaw on bass, and Mickey Roker on drums, Pearson presents evocative originals including ‘Amanda’, ‘Bedouin’, and ‘ESP’. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Under-recognized tenorman Clifford Jordan blew in from Chicago with a trio of excellent Blue Note sessions in 1957 including Cliff Jordan featuring a septet with Lee Morgan on trumpet, Curtis Fuller on trombone, John Jenkins on alto, Ray Bryant on piano, Paul Chambers on bass & Art Taylor on drums. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

1965’s Dialogue was the debut by vibraphonist Bobby Hutcherson who had already proven himself a versatile sideman on albums from Idle Moments to Out To Lunch. Dialogue showcased his more adventurous leanings with a sextet featuring Freddie Hubbard, Sam Rivers, Andrew Hill, Richard Davis & Joe Chambers. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Paul Kelly"s latest album, "Fever Longing Still", his first of new original material since 2018"s "Nature", delivers 12 additions to his superb catalogue of love songs spanning more than 40 years. "Hello Melancholy, Hello Joy", as one of the new songs says. The album"s title comes from a line in Sonnet 147 by Shakespeare, whose writing has thrilled and inspired Kelly ever since schooldays. With love as the topic, Kelly finds a way to keep replenishing the creative well. Even if it can take some time for a song to surface.

Bob Balch here. This second SLOWER record "Rage And Ruin" consists of Amy Tung-Barrysmith (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover SLAYER's EP "Haunting The Chapel" in its entirety. We started with "Chemical Warfare" then went on to "Haunting The Chapel" but once we got to "Captor Of Sin" we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is "Rage And Ruin." Two sides with Slayer songs in the middle bookended by SLOWER originals. We are super proud of this record and can't wait for you to hear it!! Mixed and Mastered by the very talented Esben Willems. Recorded at our individual studios.

Neon orange vinyl, limited to 300 copies. Bob Balch here. This second SLOWER record "Rage And Ruin" consists of Amy Tung-Barrysmith (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover SLAYER's EP "Haunting The Chapel" in its entirety. We started with "Chemical Warfare" then went on to "Haunting The Chapel" but once we got to "Captor Of Sin" we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is "Rage And Ruin." Two sides with Slayer songs in the middle bookended by SLOWER originals. We are super proud of this record and can't wait for you to hear it!! Mixed and Mastered by the very talented Esben Willems. Recorded at our individual studios.

"You're Under Arrest is a 1985 album recorded by Miles Davis, presenting a mixture of pop covers (including Cyndi Lauper's ""Time After Time"" and Michael Jackson's ""Human Nature""), and original material dealing with politics, racism, pollution and war. It is the first Davis album since On the Corner in 1972 to include electric guitarist John McLaughlin. This version comes as a limited edition of 1500 individually numbered copies on red & clear marbled vinyl."

It is around the Chilean artist Etro Hahn that returns this 8th release exclusively vinyl: Drummer EP adds to the collection of the label AKTA records these 3 new original tracks. He shares this new release for the remix with our faithful Slovak artist Hendriks Toth

Das klassische Debütalbum von Trouble aus dem Jahr 1984 mit originalgetreu restauriertem Ton repräsentiert alles, was Doom Metal sein sollte! 40th
anniversary Picture-LP edition includes an A2 poster! Das Frühwerk von Trouble und insbesondere "Psalm 9" repräsentiert alles, was Doom Metal sein
sollte (aber so oft nicht ist). Man bedenke, dass es sich hier um eine Band handelt, die wirklich sehr vielfältig ist, was Tempo, Arrangements und
Stimmung angeht, und die sich nicht scheut, mit dem zu brechen, was von einer Doom-Band üblicherweise erwartet wird. Für 1984 ist dies eine
unglaublich zeitgemäße Platte; sie ist Doom durch und durch, aber auch thrashig und mit einigen, für die damalige Zeit, modernen Heavy
Metal-Anleihen versehen. Im Grunde gibt es nichts Rückschrittliches oder Abgedroschenes an dieser Platte. Ehrlich gesagt, es ist zum Lachen, wenn so
etwas als traditioneller Doom Metal" bezeichnet wird; was ist daran traditionell? Bands wie Trouble und Candlemass bewegten sich nicht in einer
etablierten Tradition, sondern schmiedeten ihren eigenen Sound.Zu oft hört man Doom-Bands, die den Metal aus dem Doom herausnehmen. Doom
scheint heutzutage oft ein Synonym für "spiel langsam, minimiere deine metallischen Anleihen" zu sein. Natürlich erhört "Psalm 9" die Gebete, denn
es gibt Leadgitarren und schnelle Parts in Hülle und Fülle. Der Kontrast ist der Schlüssel zum Erfolg, und jedes stampfende, niedergeschlagene Riff
wird durch einen schnellen Break ausgeglichen. Trouble lieben es, langsam zu spielen, aber verdammt, sie werden dir auch das Gesicht abreißen!

Kenner von Richard Swift wissen, dass sein Katalog umfangreich und phantasievoll ist, vollgepackt mit ebenso vielen ausgefeilten, eiskalten Klassikern wie verrückten Ein-Take-Experimenten. Diese Kleinode kommen in allen Formen und Größen, und während das den Eingefleischten nichts ausmacht, ist der Einstieg in die Musik von Swift für den Neuling schwierig: Wo soll man anfangen? Was kommt in die engere Wahl? Wie viele Crooner? Wie viele wilde Lieder? Vor diesem Hintergrund präsentiert Secretly Canadian "4 Hits & A Miss - The Essential Richard Swift", einen bescheidenen Versuch, die siebenundvierzig Minuten und vierzehn Songs zusammenzutragen, die die Uneingeweihten einführen können. Wenn Sie Richard Swift nicht kennen, lassen Sie sich von dem unvergleichlichen Kevin Morby aufklären: "Es gibt einen alten Pfadfindermythos, von dem ich als Kind gehört habe, dass man eine Kapelle bauen kann, wenn man die richtige Person mitten in den Wald setzt, bewaffnet nur mit einem Schweizer Taschenmesser. Wenn ich an diesen Mythos zurückdenke, denke ich an Richard Swift, der, wenn man ihn mitten im Wald mit einem 10-Dollar-Radio-Shack-Mikrofon absetzte, irgendwie ein Studio bauen konnte und in diesem Studio eine Kapelle des Klangs errichtete. Tatsächlich hat er genau das in seinem eigenen National Freedom Studio mitten in den Wäldern von Oregon getan, in einer Stadt namens Cottage Grove, wo er unzählige Stunden seiner eigenen Musik und der anderer Leute aufgenommen hat. Diese Kapellen des Klangs werden - und ich habe es bereits erlebt - kommende Generationen in Ehrfurcht versetzen und inspirieren, so wie es die Steinkapellen im frühen Europa tun. Beide lassen die Menschen verblüfft zurück und fragen sich: Wie konnte etwas so Massives und Schönes mit so minimalen und archaischen Mitteln gebaut werden - und in Richards Fall so schnell? Nach ihrem Tod scheinen die meisten Künstler endgültig zu ruhen, ihre Kataloge ruhen für immer neben ihnen. Aber Richard scheint aus dem Jenseits rastlos zu sein, und die Arbeit, die er hier unten auf der Erde begonnen hat, geht weiter. Sein letztes Album, The Hex, wurde nur wenige Monate nach seinem frühen Tod im Jahr 2018 veröffentlicht, und jetzt haben wir mit 4 Hits and A Miss eine Sammlung seiner beliebtesten Songs sowie einen neuen, noch nie zuvor gehörten Track "Common Law", aufgenommen um 2012. Ob Gelegenheitsfan oder Swift-Purist, 4 Hits & A Miss ist entweder ein perfekter Startpunkt oder ein Ziel für uns eingefleischte Fans, um wieder einmal etwas Neues zu finden, das uns beeindruckt und inspiriert. Wie ein versteckter Raum in seiner bereits beeindruckenden Kapelle gibt es immer etwas Neues von unserem geliebten Freund und Helden, dem verstorbenen großen Richard Swift, zu entdecken." Viel Spaß!

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on red vinyl, with extensive notes and lyrics.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Ein Treffen zweier Jazz-Giganten, das zu einem der großen Klassiker im Verve-Katalog wurde. Ben Webster war ohne Zweifel einer der bedeutendsten und einflussreichsten Tenorsaxofonisten des Jazz. „Ben
Webster Meets Oscar Peterson“ beinhaltet einige seiner besten und swingendsten Kooperationen mit Oscar
Peterson, den der Saxofonist oft als seinen Lieblingsbegleiter bezeichnete.

Elvis Costello: King of America & Other Realms umfasst 6 CDs und erforscht das karrierebestimmende
Album von 1986, das von T-Bone Burnett produziert wurde: von den Solo-Demoversionen der Songs auf
King of America bis hin zu den von Memphis und New Orleans inspirierten Aufnahmen und Kollaborationen
der letzten vier Jahrzehnte.
Die Reise durch die Musik wird von Costellos neuem, selbst verfassten 35-seitigen Essay und zahlreichen
seltenen und nie zuvor gesehenen Fotos begleitet. Den Kern der Sammlung bildet CD1, ein neues Remaster
des Albums aus dem Jahr 2024 von den Original-Masterbändern. CD2 versammelt die 1985 aufgenommenen Solo-Demos und enthält nun 6 nie zuvor gehörte Aufnahmen der Red Bus Session. CD3 ist ein nie
gehörtes, von den Mehrspurbändern abgemischtes 17-Song-Konzert, aufgenommen in London, UK am 27.
Januar 1987. Hören Sie Elvis im Konzert, begleitet von James Burton, Jim Keltner, Jerry Scheff, Belmont
Tench & T-Bone Wolk. Das Set schließt mit 3 Compilation-CDs, die Costellos Studioaufnahmen, bisher
unveröffentlichte Demos, Outtakes und Live-Aufnahmen zusammenfassen.

Wir feiern den 30. Geburtstag von Weezers wegweisendem, selbstbetiteltem Debütalbum, auch bekannt
als „Blue Album“.
”Weezer” (das ”Blue Album”) ist einer der kulturellen Meilensteine der 1990er Jahre und hat sich einen so
festen Platz im Herzen von Rockfans der letzten drei Jahrzehnte erobert, dass es bis heute als ”Einstiegsdroge” gilt. Auf dem Album finden sich diverse Evergreens der Band: Titel wie „Buddy Holly“ und „Say
It Ain’t So“ erzielten Hunderte Millionen Streams und unzählige Platzierungen in Fernsehsendungen und
Filmen. Weezers „Blue Album” ist als eines der stärksten Debütalben aller Zeiten anerkannt und wurde
nun von den originalen analogen Bändern neu remastered.

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.