Cerca:perkins

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

"Ko te reo Maori, he matapihi ki te ao Maori" lautet das Maori-Whakatauki (Sprichwort), an dem sich der Aotearoa-Singer/Songwriter Marlon Williams (Kai Tahu, Ngai Tai) bei seinem vierten Soloalbum "Te Whare Tiwekaweka" orientiert hat. Übersetzt bedeutet es "Die Maori-Sprache ist ein Fenster zur Welt der Maori" und drückt Marlons Motivation für sein erstes Te Reo Maori-Album aus. "Durch den Entstehungsprozess dieser Lieder", sagt Marlon, "habe ich eine Möglichkeit gefunden, meine Freuden, Sorgen und meinen Humor auf eine Art und Weise auszudrücken, die sich sowohl deutlich neu anfühlt, als auch mich mit meinen Tipuna Vorfahren und meinem Whenua Land, Heimat verbindet." Diese Verbindung steht im Mittelpunkt von "Te Whare Tiwekaweka", der Marlon wieder mit seiner Familie, seinen Freunden und seiner Heimatstadt Lyttelton zusammenbringt, nachdem er ein Jahrzehnt lang um die Welt gereist ist, um seine Karriere aufzubauen. Das Album stellt einen weiteren Schritt in Marlons Reise mit seiner angestammten Sprache dar. Seine Fähigkeiten in dieser Sprache entwickelten sich in den Stunden, die er mit seinem engen Freund und Co-Autor, dem Rapper KOMMI, verbrachte. Die Sprache brachte sowohl eine neu entdeckte lyrische Ehrlichkeit als auch eine großartige klangliche Vision hervor. Unterstützt von der langjährigen Tourband The Yarra Benders, dem Co-Produzenten Mark Perkins (Te Whanau-a-Apanui), den Sängern von He Waka Kotuia und einer Zusammenarbeit mit Popstar Lorde, durchquert das Album Marlons vertrautes Folk-Country-Bluegrass-Territorium, während er gleichzeitig seine Erkundung poppigerer Gewässer und der inhärenten Rhythmen der Maori-Musik fortsetzt. Das Ergebnis ist eine Sammlung, die zeitgemäß und zeitlos zugleich ist.

PITCHFORK “This ‘Director’s Cut’ is the way it was always intended to be heard” - Patterson Hood In 2004 the Drive-By Truckers released what would become the best selling album in their illustrious catalog. The Dirty South is a concept album that examines the state of the South, and unveils the hypocrisy, irony, and tragedy that continues to exist. The album features live show staples like, “Tornadoes”, “Where The Devil Don’t Stay” and “Puttin’ People On The Moon” as well as rarities like “Goode’s Field Road” and “Daddy’s Cup.” The Complete Dirty South is a band-led rework of the original album. Principal member, Patterson Hood, took the reins and reimagined this record as it was originally intended. The complete version features resequenced audio, three additional tracks, four remixes along with updated vocals. The packaging comes with a perfect bound book featuring liner notes from Patterson Hood, track by track descriptions from Mike Cooley and Jason Isbell as well as never before seen photos along with updated artwork from the late Wes Freed.

The Original Soundtrack by ROB

Blood Red & Black Swirled Vinyl with Forest Green and Yellow Splatter
Heavyweight Gatefold Packaging with Matte Satin Coating
Artwork by Creepy Duck Design
11"x11" Art Print
After the successful sell-out soundtrack release of the Oz Perkins (Longlegs) directed GRETEL & HANSEL, Waxwork Records is excited to team back up with composer

Robin Coudet, aka ROB, on his outstanding new score to Never Let Go. Known for his unique electronic compositions including 2012's MANIAC, HORNS, REVENGE, and GRETEL & HANSEL, ROB's career continues to grow in cinema, series, and documentaries with more than 40 original scores composed.

Waxwork Records is excited to release NEVER LET GO Original Motion Picture Soundtrack by ROB as a deluxe vinyl release including Blood Red and Black swirled vinyl with Forest Green and Yellow splatter, heavyweight gatefold packaging, artwork by Creepy Duck Design, and an 11"x11" art print.

Alton Ellis is one the finest soulful voices to come out of Jamaica. As well as writing hit singles himself, he could make a cover version known as a foreign tune sound like a Jamaican reggae tune with the greatest of ease.

As the more upbeat rhythms of the earlier 'Ska' period began to slow down around the turn of 1966 some say due to the extreme heatwave that hit the island of Jamaica that year, slower rhythms suited the people to groove to at the various sound systems and dances. This also allowed the singers to express themselves more and allow the song to shrine through. No one did this better than Alton Ellis.

Alton Ellis (b.1944, Kingston, Jamaica) started off singing at an early stage as part of a duo with singer Eddie Perkins and recorded for both Studio One and Randy's as 'Alton and Eddy' and had a massive hit with the song 'Muriel'. The singing pair went their separate ways with Alton going solo with Studio One and being a much in demand voice also recorded with Duke Reid's Treasure Isle Studio as 'Alton Ellis and The Flames'. As we stated earlier as the beat slowed down the top singers shined through and Alton Ellis reigned supreme. One of his tunes that we feature on this set 'Get Ready(Do the Rocksteady') even gave this period in reggae's history its name 'Rocksteady'. It's this fantastic period Rocksteady 1966-1968 that we feature on this release. This set carries all the big hits 'Ain't That Loving You', 'Girl I've Got A Date', 'Cry Tuff' alongside many more classics. All the cut at Treasure Isle songs that really defined the era.

So sit back and enjoy the Rocksteady sound it's finest....
We hope you enjoy the set....

Honest is the second album by the English rock and pop band Dave Stewart and the Spiritual Cowboys released in 1991.

The bandmembers on this album include Chris Bostock from JoBox-ers, Jonathan Perkins, Olle Romo and Nan Vernon,

but also include Martin Chambers from the band The Pretenders and John Turnbull from Ian Dury and The Blockheads.

Honest is available as a limited edition of 750 numbered copies on translucent magenta coloured vinyl and includes an insert with lyrics.

Das US-Soundtrack-Label Mutant veröffentlicht in Zusammenarbeit mit Milan Records den Original Soundtrack von LONGLEGS mit Musik von ZILGI.



Das Album enthält die Originalmusik, die Zilgi (aka Singer-Songwriter und Folk-Rocker Elvis Perkins) für den erschreckenden neuen Thriller von Regisseur Osgood Perkins geschrieben hat, in dem ein FBI-Agent auf der Suche nach einem geistesgestörten Serienmörder (Nicolas Cage)ist. So verstörend und alles verzehrend wie ein Alptraum, benötigte LONGLEGS eine Soundkulisse, die genauso fesselnd ist wie die Geschichte auf dem Bildschirm, was Zilgi dazu veranlasste, eine Palette aus dunkler, bedrohlicher Synthesizerarbeit, verzerrter Instrumentierung und unterschwelligen Sounddesign-Elementen zu schaffen. Zigli hat einen wahrhaft erschreckenden Hörgenuss geschaffen, der Soundscapes, Elektronik und disharmonischen Rock zu einem Portal zur Hölle vermischt, das noch lange nach dem Auflegen der Platte in Erinnerung bleiben wird.

2024 Repress /

Seeds has been produced in its entirety by hip-hop mainstay Madlib, and marks the first project Georgia Anne Muldrow where she concentrated solely on her lyrics and vocals, while leaving the production to someone outside her close camp. Georgia describes the recording process as being "a very different experience... But I'm very proud of the hut we built and am excited about the release." Seeds is presented by SomeOthaShip Connect, the label Muldrow started with husband and fellow musician Dudley Perkins aka Declaime.

Bang! Records wiederveröffentlicht Jeffrey Lee Pierce's (Gun Club) solo ,Six String Sermon" in der Deluxe-Edition mit Gatefold-Sleeve und 16seitigem Booklet. Im Jahr 1980, unmittelbar vor den Aufnahmen zu THE GUN CLUBs mächtigem Debüt ,The Fire Of Love", machte Jeffrey Lee Pierce eine Handvoll akustischer Soloaufnahmen, die auf seiner Faszination für den Mississippi Delta Blues basierten. Und genau so klingt diese Platte auch. Jeffrey Lee Pierce, der einen Rückblick auf den klassischen Blues gibt. Roh, bitter und direkt ins Herz (der Finsternis). Diese Platte zeigt das reine, bluesige Gesicht des Leaders von The Gun Club. Akustisch, in der alten klassischen Art des Mississippi-Deltas, aufgenommen in den ganz frühen 80er Jahren. Das Album enthält ein 16-seitiges Booklet mit exklusiven Fotos und der unschätzbaren Mitarbeit von Freunden und Menschen, die Jeffrey Lee Pierce umgaben und über ihre Zeit und Erinnerungen mit ihm sprachen, darunter Nick Cave, Mark Lanegan, Tex Perkins, Kid Congo Powers, Henry Rollins usw. Blues is the The Gun Club's soul.

COMPLETE ALBUM + 8 BONUS TRACKS -180g VIRGIN VINYL - LIMITED EDITION

Specially prepared liner notes by renowned music writer Brian Morton. From his early days as a pioneer of rockabilly and rock & roll in the 1950s, to his decades as an international representative of country music, to his resurgence to fame as both a living legend and an alternative country icon in the 1990s, Johnny Cash has influenced countless artists and left a body of work matched only by the greatest artists of his time. This LP presents some of his greatest hits, including the classic I Walk the Line.

Johnny Cash (1932-2003) developed a unique sound from his early Sun recordings with the Tennessee Two. His unusually deep, resolutely un-decorous voice rode atop the boom- chicka- boom guitar style invented by his right- hand man Luther Perkins and a rockabilly-ish slap bass by Marshall Grant.

Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

BRUME (ausgesprochen wie das englische Wort "Broom") sind der lebende Beweis dafür, dass es auch in Kalifornien nicht nur Sonnenschein und Easy-Living gibt. Das aus San Francisco stammende Quartett verschmilzt Doom Metal, Gothic und Indie Rock zu einer oft monolithischen, aber ebenso auch zerbrechlich wirkenden Mischung aus harter Schwere, die von der dunklen Seite der Musik kommt. Nach einem Jahrzehnt verlockender Sounds und Gänsehaut-Crescendi treiben BRUME die Klangexperimente und spannenden Genre-Umdeutungen auf ihrem dritten Album "Marten" einen großen Schritt weiter voran. Die Erweiterung zum Vierer mit Jackie Perez Gratz an Cello und Gesang eröffnet den Kaliforniern einen Kosmos neuer Möglichkeiten, den sie zielstrebig erkunden. Durch das Verweben von aufsteigenden Melodien mit melancholischem Doom Pop entstehen Songs, die gleichermaßen intim und eindringlich, wie auch massiv und kraftvoll sind. BRUME gründeten sich im Jahr 2014 ursprünglich als Trio. Gitarrist Jamie McCathie aus Bristol, England kam musikalisch mit der Bassistin und Sängerin Susie McMullan aus Baton Rouge, Louisiana zusammen, nachdem die Beiden ihre gemeinsame Leidenschaft für Trip-Hop und Sludge entdeckt hatten. Die Besetzung wurde bald darauf von Jordan Perkins-Lewis am Schlagzeug vervollständigt, der mit seinem reichhaltigen und experimentellen Schlagzeugstil den Grundstein für die Studioaufnahmen der frisch gegründeten Band legte. Mit ihren Doom Metal Alben "Rooster" (2017) und "Rabbits" (2019) nahm das Trio schnell Fahrt auf, wobei ersteres von The Ripple Effect zum "Album des Jahres" gekürt wurde und letzteres den ersten Platz auf der "Best of 2019"-Liste von Wonderbox Metal einnahm. BRUME hinterließen auch auf der Bühne ihre Spuren und traten unter anderem sowohl beim Desertfest 2017 in London als auch im Jahr 2019 beim Desertfest New York und SXSW auf. Mit "Marten" machen BRUME einen mutigen Schritt in Richtung ihrer musikalischen Zukunft, indem sie zuerst sich selbst und nun auch ihre Zuhörer herausfordern, sich von vertrauten Sounds zu anspruchsvolleren, weniger vertrauten Klangräumen zu bewegen.

BRUME (ausgesprochen wie das englische Wort "Broom") sind der lebende Beweis dafür, dass es auch in Kalifornien nicht nur Sonnenschein und Easy-Living gibt. Das aus San Francisco stammende Quartett verschmilzt Doom Metal, Gothic und Indie Rock zu einer oft monolithischen, aber ebenso auch zerbrechlich wirkenden Mischung aus harter Schwere, die von der dunklen Seite der Musik kommt. Nach einem Jahrzehnt verlockender Sounds und Gänsehaut-Crescendi treiben BRUME die Klangexperimente und spannenden Genre-Umdeutungen auf ihrem dritten Album "Marten" einen großen Schritt weiter voran. Die Erweiterung zum Vierer mit Jackie Perez Gratz an Cello und Gesang eröffnet den Kaliforniern einen Kosmos neuer Möglichkeiten, den sie zielstrebig erkunden. Durch das Verweben von aufsteigenden Melodien mit melancholischem Doom Pop entstehen Songs, die gleichermaßen intim und eindringlich, wie auch massiv und kraftvoll sind. BRUME gründeten sich im Jahr 2014 ursprünglich als Trio. Gitarrist Jamie McCathie aus Bristol, England kam musikalisch mit der Bassistin und Sängerin Susie McMullan aus Baton Rouge, Louisiana zusammen, nachdem die Beiden ihre gemeinsame Leidenschaft für Trip-Hop und Sludge entdeckt hatten. Die Besetzung wurde bald darauf von Jordan Perkins-Lewis am Schlagzeug vervollständigt, der mit seinem reichhaltigen und experimentellen Schlagzeugstil den Grundstein für die Studioaufnahmen der frisch gegründeten Band legte. Mit ihren Doom Metal Alben "Rooster" (2017) und "Rabbits" (2019) nahm das Trio schnell Fahrt auf, wobei ersteres von The Ripple Effect zum "Album des Jahres" gekürt wurde und letzteres den ersten Platz auf der "Best of 2019"-Liste von Wonderbox Metal einnahm. BRUME hinterließen auch auf der Bühne ihre Spuren und traten unter anderem sowohl beim Desertfest 2017 in London als auch im Jahr 2019 beim Desertfest New York und SXSW auf. Mit "Marten" machen BRUME einen mutigen Schritt in Richtung ihrer musikalischen Zukunft, indem sie zuerst sich selbst und nun auch ihre Zuhörer herausfordern, sich von vertrauten Sounds zu anspruchsvolleren, weniger vertrauten Klangräumen zu bewegen.

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



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

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



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

Repress!

"Blackmarket Seminar", an album by Kazi and it's entirely produced by Madlib. Guest features by Madlib, MED, Wildchild, Declaime (Dudley Perkins) and Oh No. The album was recorded in 1996, remastered in 2016 and now available on CD and all digital platforms.

Message from Kazi:
We recorded this album in the wee hours at CDP studios back in '96. It was pretty much me, Madlib and Declaime in the lab when this album was recorded.

I learned so much from Lib cadence, rhyme patterns, timing and how to dig for records. What some people don't know is this cat actually took the time to show me how to make beats. I must say working with Lib was an amazing experience. The "Blackmarket Seminar" is a very raw and dark album. We came up with "Black Market" because at the time we were doing Hip Hop that nobody else was doing and to us you could only get it on the "Black Market". When you first play the album you'll hear characters on a skit in search of the black market seminar. We really tried to make it seem like the characters were outside walking around looking for it.

We recorded a new video for the song "To Be Lost" as it is about MCs selling out to remain in the game and still makes perfect sense in the present day.

The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

Boukou Groove – the soul-funk band from New Orleans – consisting of the charismatic singer/keyboardist/songwriter Donnie Sundal and the virtuoso guitarist/songwriter Derwin 'Big D' Perkins, is the best-kept American soul secret of the moment. Donnie, the frontman of Boukou Groove, is rightly considered one of the best white soul singers of the past fifty years. His soulful and funky voice evokes comparisons with greats such as Curtis Mayfield and Ronald Isley.
But let's not forget Big D, who is celebrated as one of the best guitarists in New Orleans. As a regular session musician, Big D regularly showcases his unique mix of jazzy and funky guitar playing on albums by icons such as Maceo Parker, Dr. John and Snarky Puppy. The latest album, 'Groovin'', released for the first time on vinyl under the 'Juicy Records' label, is a collection of their best work to date. After two successful tours in Japan with performances at the Live Magic! Festival and at the Blue Note in Tokyo, the album serves as a wonderful introduction before the European tour begins. While Donnie controls the vocals and bass role with his funky Moog Bass, Big D enchants with catchy guitar riffs and sublime guitar solos. Together with a talented drummer and sometimes horn players, they create an irresistible mix of New Orleans Funk, Southern Soul and Rhythm 'n' Blues. Boukou Groove has delivered one of the most enchanting modern funky soul records of this decade with 'Groovin''.

Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. NOT-TO-BE-MISSED!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: TRYPL HORNS: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café, London Ltd Ed.

"Acoustic Sounds celebrates Contemporary Records with this new reissue of Curtis Counce’s 1957 album You Get More Bounce With Curtis Counce! Originally released in 1957 the album sees Counce (bass) alongside Jack Shelton (trumpet), Harold Land (tenor sax), Carl Perkins (piano) & Frank Butler (drums). Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket. US import. "

Nach dem erfolgreichen 2009er-Debüt "We Are Only Riders" legt das Jeffrey Lee Pierce Sessions Project ein zweites Album mit zuvor unveröffentlichten Vorlagen des Gun-Club-Sängers Jeffrey Lee Pierce (1958 - 1996) vor, wiederum eingespielt von befreundeten Artists und Weggefährt*innen. Ausgangspunkt für viele Songs war eine Musikkassette mit Songideen von Pierce, die Cypress Grove, ein Musiker aus der späten Gun-Club-Phase, zufällig beim Aufräumen fand. Wie im von Pierce so geliebten Jazz, spielte beim Sessions Project jeder bei jedem, interpretierte oder bearbeitete man gemeinsam textliche und melodische Fragmente. Auf "The Journey Is Long" trifft sich ein Who"s who des Indie-Adels: Nick Cave, Mick Harvey, Debbie Harry & Chris Stein, Lydia Lunch, Kid Congo Powers, Tav Falco"s Panther Burns, Mark Lanegan & Isobel Campbell, Steve Wynn, Warren Ellis, Barry Adamson, Thalia Zedek & Chris Brokaw, Hugo Race und viele andere.

auchen Sie ein in die aufregende Welt des Rock‘n‘Roll . Unsere neue Vinyl-Serie “Rock’n’Roll Hits“ enthält eine sorgfältig ausgewählte Sammlung von 20 originalen Rock‘n‘Roll-Hits aus den 1950er Jahren, die die Ära des Rock‘n‘Rolls in seiner Blütezeit einfangen.

Mit legendären Künstlern und unvergesslichen Songs bietet diese Schallplatte ein Stück Musikgeschichte zum genießen. Mit dabei sind: Guy Mitchell, Frankie Avalon, Buddy Holly, Little Richard, Elvis Presley, Fats Domino uvm. Erleben Sie die Energie und den Spaß der 1950er Jahre Rock‘n‘Roll-Szene auf dieser hochwertigen Vinyl-Schallplatte. Perfekt für Liebhaber der Musikgeschichte und Fans zeitloser Hits.

Play Loud wird die gesamten Aufnahmen (siehe Liste unten) der Manchester-Post-Punk-Band GODS GIFT (1979-1985) veröffentlichen, einige davon zum ersten Mal überhaupt. Mark E. Smith von The Fall war Fan. Gods Gift-Gitarrist Steve Murphy hat 11 Songs für ihre allererste LP zusammengestellt.

Gods Gift gab es, als viele Manchester-Gruppen Ruhm und Reichtum erlangten. Manchester brachte einen düsteren Soundtrack für die musikbegeisterte Jugend dieser Zeit hervor. Die gotischen Katakomben waren der Nährboden für viel Zorn. Gods Gift wollte seine Wut und seinen Hass gegen eine Welt zum Ausdruck bringen, die auf nichts so Belangloses wie die Menschen hört. Wenn die Leute beim Konzert plapperten, wurde die Lautstärke auf ohrenbetäubende Lautstärken eingestellt, wodurch eine Wand aus dissonantem Lärm entstand, unterbrochen von den hymnischen Schreien eines weiteren wütenden Refrains

All vinyl is in a Gatefold jacket w/ two 12pg booklets, printed insert + download card. SH289LPCB // SH289LPIE are both for Indie stores only. CD Packaging: Digipak w/ 12pg lyric poster insert. The Armed return with their new album Perfect Saviors, the first new music since 2021 breakout release ULTRAPOP. Providing a full accounting of album contributors for the first time, Perfect Saviors was produced by the band’s Tony Wolski along with Ben Chisholm and Troy Van Leeuwen, with contributions from Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer, and many more. The album was mixed by Alan Moulder. Vocalist Tony Wolski offered this statement on the album: “Too much information has made us dumb and confused. Too many ways to connect have inadvertently led to isolation. And too much expectation has forced everyone to become a celebrity. Predictable primal dangers have given way to newer social ones. And the result is a world that is confounding and terrifying but ultimately still beautiful. We hope this record is exactly all of that, too. Perfect Saviors is our completely unironic, sincere effort to create the biggest, greatest rock album of the 21st century.” Perfect Saviors is the conclusion of a trilogy of albums examining and dissecting what constitutes “pop culture” in a world of limitless information and access. Using “pop music” loosely as a format in which to express these ideas, each album used composition and presentation as a way to challenge these questions further. Perfect Saviors is the ultimate product of this evolution. Using one of the world’s most well-known mixing engineers to create a beautiful album fully immersed in the language and world of pop through the inherently unique, extreme, and perverse lens, The Armed communicate their art. Perfect Saviors follows 2021’s critically acclaimed album ULTRAPOP which landed on numerous Best of 2021 lists including Pitchfork, New York Times, Stereogum, Revolver, and many more. Album announce along with first single/video "Sport of Form" and which features Julien Baker on vocals and Iggy Pop playing God set for June 27th . Indie Exclusive Sea Blue vinyl in gatefold jacket w/ two 12 page booklets + printed insert Limited to 1500. FADER cover confirmed to run with announce and additional Cover story features confirmed with The Guardian, Revolver and Kerrang! will run. Supporting Queens of the Stone Age on their North America Headline arena tour in August, UK/EU headline tour scheduled for early 2024. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. Videos for all three focus tracks are completed and will be released along with each song. UK PR handled by Adrian Read at Inside/Ou.

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Back when Eddie Bond recorded Talkin' Off The Wall for his first ever disc
in 1955, he was indeed caught up in a musical moment that was 'off the
wall' – in other words seen as highly unusual, strange, eccentric, bizarre
It was the time of the emergence of rockabilly and white rock and roll. Briefly, the
'rockin daddy from ding dong Tennessee' was hot stuff, playing shows with
Presley, Perkins, Cash and all the other singers from Memphis whose music
talked off the wall to a whole new generation. Today, it does so again.
• A rocking 14-track LP on Bear Family Records® from one of the original
Memphis rockabillies, Eddie Bond, backed up by a 25-track CD featuring original
and cover versions of some of Eddie's songs.
• Mostly from the mid-1950s, these tracks sparkle with the life and excitement of
the new rocking music.
• Eddie started and finished as a country singer, but he embraced the new
rockabilly music and he soon became the Rockin' Daddy described in his bestselling disc from 1956.
• Eddie's backing bands include two of the best guitarists of all time – Reggie
Young and Hank Garland – and they don't disappoint.
• The ten-inch LP contains one song from Eddie's first label, Ekko, six from his
rockabilly heyday on Mercury, two from his originally unissued sessions at Sun in
1958, and five tracks from local Memphis labels in the 1960s.
• The bonus CD contains also a further 11 tracks by other artists, providing
fascinating other versions of songs Eddie recorded. Artists include Sonny Fisher,
Lattie Moore, Ray Charles, and Elvis Presley.

Brazilia Maravilha... A real wonder of selected Brazilian tunes.
You will feel the mood and breeze like you were over there!

28 songs including some great classics as "Lamento" by Nelson Riddle, "Mas Que Nada" by Elza Soares, "Groovy Samba" by Cannonball Adderley and "So Nice (Samba De Verao) by Sérgio Mendes as well as more unique ones.

Kindly remastered tracks from master tapes to keep the dusty roots of the original sound. Double vinyl in a balanced mix of vocals, instrumentals, bossa nova and some jazzy beats tunes.

Elvis Presley’s self-titled debut album forever changed popular culture on release in 1956, its earthquake aftershocks still felt some 65 years later. Gritty adaptations of Carl Perkins’ ‘Blue Suede Shoes,’ Ray Charles’ ‘I Got A Woman’ and Little Richard’s ‘Tutti Frutti’ helped make it the first Rock ‘n’ Roll album to top the Billboard charts, where it remained unchallenged for a full ten weeks. The iconic cover image with its distinctive lettering, showing Presley brandishing his acoustic guitar, helped embed the instrument in rock mythology too, indelibly changing how we conceive of the genre and its axemen. Elvis Presley proved that our hero was already the undisputed King of Rock ‘n’ Roll, just as he still is today.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

This new pressing of bassist Leroy Vinnegar's first album as a leader Leroy Walks! Is released as part of Acoustic Sounds celebration of Contemporary Records. Originally released in 1958 the album sees Victor Feldman, Gerald Wilson, Teddy Edwards, Carl Perkins, and Tony Bazley joining Vinnegar. Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Under-recognized trumpeter Johnny Coles recorded only one album for Blue Note but 1963’s Little Johnny C is a little-known treasure of the catalog featuring Coles at the helm of a dynamic sextet with tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, pianist Duke Pearson, bassist Bob Cranshaw, and drummers Walter Perkins & Pete La Roca.

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.

The “Heaven” EP features producer-extraordinaire Leonard Charles at the helm, collaborating with prodigious artists from New Zealand (his home country) and the USA, to create an wildly eclectic E.P. project with the common underlying thread of basement funk knitting it together. This presentation of funk is truly a legitimate foundation for the heads that need it: built upon solid soul/jazz chord progressions and played on original musical equipment/gear from the 80’s and 90’s. The record features an exclusive remix of the song “Nine Lives” that he co-wrote with boogie/funk legend Leroy Burgess, and additionally features stellar collaborations with Guilty Simpson, Zyah Belle, Reality Jonez and A.C. Freezy. Jeremy ‘Leonard Charles’ Toy is a producer / artist / musician from Auckland New Zealand who has played on records for Mark De Clive Lowe, Recloose, Julien Dyne and Ladyhawke. He has performed music with Randy Crawford, Hugh Masakela, Kimbra, Maynard Ferguson, Ronald LaPread (the Commodores) and has collaborated with Grandmaster Caz, Guilty Simpson (The Leonard Simpson Duo), Georgia-Anne Muldrow, Dudley Perkins and Wildchild. He has released music on his own imprint, From The Crate Records and Jakarta Records, Hit + Run, Wonderful Noise, Hobo Camp and now CQQL Records.

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats. "Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date." – Exclaim!