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“Gun The Man Down ” by Dice The boss aka Pama Dice was first released in 1969 on the Trojan sublabel Joe with the track “Thief” by Joe Mansano on the B side. “Thief” is also reissued by us on a separate single dedicated to Joe Mansano.

“Your Boss DJ” was also released in 1969 on the Joe Label with the track “Read The News” by Joe All Stars on the flip.

Both titles are skinhead reggae classics that have never been reissued until now.

About Joe Mansano:

“Gun The Man Down ” and "Your Boss DJ" were both credited to Joe Mansano, real name Joel Mansano, who also produced the songs. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…

About Dice The Boss/ Pama Dice:

Not much is known about Dice The Boss. His real name was Hopeton Reid and he was alternatively known as “Pama Dice”. But we know more about Pama Dice thanks to Gaz Mayall!

"Pama Dice was one of Prince Busters ‘no-shoes’ ‘Sunday school gang in west Kingston Jamaica. According to the Prince there wasn’t a car that Pama couldn’t nick. He used to nick the cars uptown with no shoes on & take them to the ghetto to teach the youth to drive. They were called the Sunday school or no-shoes gang as they were so poor that they only had one pair of shoes each & only wore them to church on Sundays. Pama Dice rose in the ranks to become one of Prince Busters main sound system DJs before emigrating to London in the late sixties where he MC’d for Duke Vin & recorded many great records for the UK/Jamaican booming new Reggae market in its infancy on the shoulders of the Bluebeat & Ska & Rock Steady music scene."

Source Gaz Mayall 27/2/2021

Bassist, bandleader and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic - after 20 years in New York City, he"s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section: new acquaintance Nathaniel Facey was picked from the ranks of the UK"s brightest young saxophone players: NYC stalwart Philip Dizack flew in from the US to play trumpet. Orlando"s old schoolfriend Chris Martin contributes a starkly sincere vocal performance, singing words from a poem by Persian poet Rumi, in unison with Orlando"s daughter Nadia.

DJ Support: Disclosure, Ross From Friends, Eliza Rose, Floating Points, Emerald, Jaguar, Danny Rankin

3 years in the making, Peaky Beats debut 10 track LP 'Bloodlines' takes us on a spiritual journey through ancient and modern middle eastern sounds fused with the spectrum of UK Bass music. Heavy subs and intricate rhythms bring this listening experience to life from the hypnotic melodies to the samples only a well-trained ear can catch. As well as teaming up with some good friends on two collaborations, Peaky has delved into a diverse and new sound whilst staying true to his musical roots in late 90’/ early 00’s UK Garage / Dubstep.

Ein 7" Reprint der berühmten Single Crucifixion von Barrington Levy! Produziert von Henry 'Junjo' Lawes. Barrington setzte sich 1980 mit „Crucifixion“ an die Spitze der britischen Reggae-Charts und lieferte eine seiner kultigsten Gesangsdarbietungen. Auf der B-Side findet man Ranking Joe, der wasserdicht auf dem Rhythmus sitzt, um sich auf dem mächtigen „River Jordan“ voll auszutoben. Roots Radics in voller Wirkung eingefangen bei Channel One und King Tubby's.

As the years go by, the ranks of Degiheugi's fans continue to swell: each time a new solid-gold disc is added to their already impressive discography, the result is a unique and impressive work in the French beatmaking landscape.

Endless smile, the sixth instalment, once again proves to be a great vintage, immediately limpid, but above all long in the mouth, charged with intense melodic persistence and loops that take the ear hostage.

And what a variety of aromas in the art of sampling: languorous strings, oriental flutes, bouncy brass, exotic percussion, intimate piano, samples of antediluvian blues or forgotten French chanson. This Grand Ouest varietal finds its perfect balance in a classic, timeless hip-hop spirit that runs like a red thread throughout the album.

When other beatmakers give in too quickly to the sirens of the dancefloor, Degiheugi always transports us back to his first hip-hop loves, for the pure pleasure of the “beautiful loop”. And he knows how to surround himself with the right people: his guests, whether faithful compatriots (Ghostown, Andrre, Astrid Van Peetersen) or newcomers (Ceschi, Josh Martinez), join in the party with high-flying featurings. The album title sounds like a prophecy: smile eternally as you listen to Degiheugi.

LP! is the fourth studio album from renowned Baltimore rapper JPEGAMFIA. Released on October 22nd, 2021 (his 32nd birthday), the album features guest appearances from DatPiMaa, Kimbra and Tkay Maidza. It received a great critical response from Pitchfork, NME, and more. The album thematically speaks to JPEG’s struggles within the music industry and staying true to his art, and is entirely self-produced like much of his work. JPEGMAFIA has established himself as one of today’s premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers. His fanbase is dedicated, excited and engaged with everything JPEGMAFIA does.

Principal member Keith Finch linked up with reggae manager and publisher Othman Mukhlis at Stanley House Studio in 2001 and began a series of projects featuring there love of retro reggae. JA13 worked with major reggae stars of the sixties on the ‘Heroes of Kingston’ project, Alton Ellis, Derrick Morgan, Dave Barker Dave and Ansell Collins Winston ‘Mr Fixit’ Francis, Denis Alcapone, Owen Grey, BB Seaton Gaylads and legendary trombonist Rico Rodriguez. [Which lead to two solo albums with Rico Rodriguez]. Project championed by David Rodigan and Ranking Miss P. Music in films and TV including Hawaii 5-0, various US films, BA, Tesco, various BBC, latest and currently they have many tracks on BBC most successful export ‘Death in Paradise’. They also feature two tracks in the forthcoming Shaggy documentary Other reggae artists projects include Bob Andy, Joseph Cotton, General Saint and Clint Eastwood, Don Campbell, J C Lodge, Susan Cadogan, Glen Adams [Upsetters] Pat Rhoden [first artist on Trojan] Tippe Irie, Tenor Fly, Spanna Banner, FYA [Platinum in Japan], Bounty Killer, Elephant man, and many more on ‘Bar Mitzvah riddim’ which was co written and produced with Skatta Burrell. Written for UK pop reggae band Madness on last two albums, and on the project ‘Charge of the Dance Brigade’ with Lee Thompson [Madness] and Jennie Matthias Belle stars singer] with Brazilian jazz accordionist/pianist Chico Chagas. And a host of other top musicians. [Which he co wrote, produced, engineered and nurtured] JA13 have featured on many reggae projects and remixes, the latest offering is ‘World Radio Dub – Chapter One’

One of the best reggae albums of the ‘80s and one of the real highlights in the Real Authentic Sound label catalog finally gets an LP reissue! Lascelle “Wiss” Bulgin, Albert “Apple Gabriel” Craig, and Cecil “Skelly” Spence all contracted childhood polio, and met at a Jamaican rehab center; in the ‘70s, they formed Israel Vibration and their first record, The Same Song, released in 1978 on the Top Ranking label, was an international smash. But by the time they released Strength of My Life in 1988, it had been seven years since they had made a record, having fled Jamaica in the intervening years to seek better health care and to escape the dancehall scene. Against all odds, Strength of My Life turned out to be a triumph, the beginning of the group’s partnership with the Roots Radics and a reaffirmation of the love the group’s members had for each other and a celebration, as the title goes, of the strength of their lives (we defy you not to be moved by the title track). That’s Augustus Pablo on melodica on “Greedy Dog” and Dwight Pinkney on guitar on “Jah Love Me,” by the way. Roots reggae royalty!

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

180g Expanded Edition incl. CD. paginated and numbered. The one and only Dub Syndicate album mixed by Overton "Scientist" Brown.

The first in a series of archival releases from Cranes, the band’s John Peel Sessions are collected for the first time.

John Peel Sessions (1989-1990) will be available on black vinyl with a worldwide pressing of 500 copies.

Artwork by feted 4AD/v23 sleeve designer Chris Bigg (Cocteau Twins, Pixies etc)

Formed in mid-1980’s Portsmouth by the brother & sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) & Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released & now highly sought-after cassette of demos.

Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 & 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) & Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys it’s 30th anniversary this year.

Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

Storytelling was released on 3rd June 2002 as the soundtrack to the Todd Solondz movie of the same name.It was recorded and produced in 2001 at the famous The Magic Shop Recording Studio in New York which closed in 2016. Some tracks were also recorded at Water Music Recording Studios in Hoboken, New Jersey and CaVa Studios, Glasgow.

All work, all play - Fall of Porcupine tells an emotional story about a young doctor, who struggles to find his place in the small town of Porcupine. The game combines a vibrant, hand-painted world with the harsh reality of working in a flawed healthcare system, as the player accompanies Finley on his journey. While we do not guarantee that the game will make you cry, there's a high chance it might. Step into the town of Porcupine and take to the well-loved scrubs of Finley, the newest fledgling doctor to join the ranks of St. Ursula's hospital. As the seasons in the small-town change and life starts to stir, you'll soon realize that things aren't always what they seem: Not everyone is honest with themselves and others, the healthcare industry is not as illustrious as it seemed in medical school, and the work/life balance Finley strives toward might be impossible to achieve. Pinsel is perfectly capturing the slightly melancholic and laid-back atmosphere of the game in the songs of the soundtrack. Acoustic guitars and other analogue instruments paired with minimal electronic elements that are light but never random. It's almost as loveable as its characters. A game soundtrack highlight that might also be your perfect companion for walks on a sunny day in autumn.

"Listen to This." As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colours, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180g 33RPM 2LP set.

Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.

Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Few years before the international hit Uptown Top Ranking', made with his friend Donna, Althea Forrest recorded Hey Mister' for famous producer (and singer) Derrick Harriott.

Mid 1970's, Derrick Harriott is the best reggae-soul producer in Jamaica. He's made tons of US soul cover with Jamaican artists. Hey Mister' was recorded at Federal studios (Tuff Gong nowadays) and didn't get an international audience, not even in Jamaica, probably because it was not a cover!

For the first time since 1976, Hey Mister' is now available on a Maxi vinyl 12'' to offer the best sound quality. Thanks to Derrick Harriott's master tapes and to the original artwork, now you can play this tune in the perfect condition.

Look through any self respecting quality music publication or web site and peruse through a list of the most important and influential psychedelic albums of all time and you can be pretty sure to see KALEIDOSCOPE'S 'Tangerine Dream' ranked high up there, along with your 'Sgt Peppers', your 'Forever Changes' 'Satanic Majesties Request' 'Axis Bold As Love' 'Odyssey & Oracle' and 'The Psychedelic Sounds of the 13th Floor Elevators'........

This seminal album of quintessential English psychedelia is one of the most highly prized artifacts that define the psychedelic genre and like some of the most highly collected and prized albums from that time, mint copies can now go for way in excess of £1000.

Thus given the record`s rarity & collectability, matched to the recent explosive interest in all things psyche, garage & underground, you would be excused for thinking that this slice of perfect late 60's progressive underground pop would have been given the full reissue and remastering treatment already. Surprisingly though, you would very much be mistaken. But to those of you who know the checkered history of Kaleidoscope this will perhaps come as no surprise!!!

Thankfully after 3 years of painstaking detective work, chance encounters with Universal archivists, heavy negotiations with major label legal executives and some good fortune, we are delighted to announce that this record will finally not only get its first proper official reissue in over 5 decades, but thanks to a lot of pure persistence it can now be presented to its listeners in the manner in which it was supposed to have been heard, following the discovery of a batch of the original master tapes that were languishing in the vaults of Universal that have laid largely unheard for 50 years!

Furthermore following a couple of shared festival billings at Austin and Copenhagen Psyche Festival, with another legend of the scene, Mr Pete Kember aka SONIC BOOM of SPACEMEN 3 fame, Sonic has been holed up in his Lisbon studio, painstakingly remastering the album from the original ¼' tapes.

The remastering of these ¼' tapes though is only part of the story, as along with the discovery of these a significant number of ½' tapes and other material was also discovered which is penned for a future release when the band`s entire works will be presented in a definitive boxset of all four of their studio albums (including all their Fairfield Parlour recordings) plus BBC Sessions, live recordings, alternative takes, new mixes, unreleased tracks and material from the band`s own archive including pre-Kaleidoscope demos when they were known as both The Sidekicks and The Key.

For now though, this 50th Anniversary release comes with a flavor of what is to come, with the inclusion of two unreleased out-takes tracks from 1967 on a bonus 7' housed in a replica original paper thin Fontana sleeve which, includes an early version of the track that gave the band their name, the suitably titled: 'Kaleidoscope'. Whilst the flip presents an alternative earliest known recorded version of the album's follow-up single: Dream For Julie'.

The album itself, has been cut onto 180g heavyweight vinyl, housed in a deluxe high-end gatefold tip-on sleeve with the lyrics printed and new artwork. The first 1000 copies of the album will be hand numbered by the band & pressed on 'Tangerine' orange vinyl housed in an inner sleeve with attractive new artwork + download code.

To celebrate the 15th anniversary of "Born in 69"", the album is reissued for the first time as a double vinyl! It features collaborations with The Sugarhill Gang, Shabba Ranks, Kevin Lyttle ant the renowned Awell. (Re)Discover the worldwide hits "La La Song", "Love you no more", "New new new" and "What a wonderful world"

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

* The long awaited follow-up to `Dub from the Heart Part 2’ which was released 26 years ago.
Good things come to those who wait.
* A modern venture into raw dub-wise territory with weighty sub bass-lines built for sound system and annoying the neighbours.
* Featuring the voices of Ranking Joe, Jah Mason, Hughie Izachaar and Martin Luther King Jr.

CROWNSHIFT – born as a longtime idea of four friends, is a new high standing metal act from Finland. The members familiar from the ranks of Finland’s finest export titans like Nightwish, Children Of Bodom & Wintersun, are thrilled to start a new journey together and spread their authentic sonic print across the globe. Covering seamlessly a diversity of styles, the quartet has a unique signature on their modern sound. Hypnotizing melodies paired with ripping riffs, from moody mid-tempo songs to a fierce prog-death-metal opus, CROWNSHIFT was born to be master of all trades. The debut album is a showcase of relentless ambition that will take you through a wide musical spectrum with no compromises or boundaries, assuring the band is on a quest of putting a massive mark on the map.

After several successful singles, Ella’s only Sound Stage 7 release was recorded at Music City Recorders in Nashville, Tennessee. The self-titled LP is all classic, no filler and surely ranks among the deepest soul in her catalogue. Full of strong ballads that showcase her raw and emotive style each song is perfectly arranged to showcase Ella's powerful vocals. Standout tracks include ‘Sit Down and Cry’, ‘All The Time’, and ‘ Stop Giving Your Man Away’. The LP also features Ella’s 1969 hit ‘He Called Me Baby’ which entered the top 40 R&B charts and garnered a Grammy nomination. Newly remastered and pressed on audiophile virgin vinyl. Limited to only 500 copies.

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

Repress.

Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favoured football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins, The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of One Law for Them, dropped in amongst the Radio and blistering Bumper Sessions with Evil sitting squarely in its unpolished centre is the ska-inflected gallop of Seems To Me, an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.

Patt Todd & The Rankoutsiders die Underground-Rock'n'Roll-Ikonen aus Los Angeles sind in Höchstform mit einem neuen Album zurück. "Keepin' Chaos At Bay" ist ein genreübergreifenden Album von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks.

Jahrzehntelang hat Pat Todd die dunklen Ecken und hinteren Regale der Americana Thrift Stores durchforstet und einen außergewöhnlichen Sound daraus entwickelt. Das neue Album destilliert alles, was er im Laufe seiner Karriere darüber gelernt hat, in einer genreübergreifenden Dosis von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks, die mit Hirn und Herz vorgetragen werden. Während diese Erfahrungen schon immer die hymnischen Songs der Rankoutsiders kreiieren, kommen sie auf Keepin' Chaos at Bay in einem der härtesten und zugleich gefühlvollsten Alben von Todds Karriere voll zur Geltung, und niemand, aber auch wirklich niemand, spielt die Songs wie Pat Todd himself.

CLEARxCUT is out there to spread the message of total liberation. (Former) Members of HEAVEN SHALL BURN, IMPLORE, and KING APATHY/THRÄNENKIND started this collective, because they are dedicated to the vegan straight edge (XVX) and want to confront listeners with inconvenient thruths and todays harsh reality. The German band addresses their songs and convictions to all people who are prepared to stand up for a better, fairer future - but especially to all anarchists, anti-fascists, feminists, primitivists and indigenous peoples of the world. Or to put it brief: to all defenders of our earth. The stylistic choice of means falls on metallic hardcore, which is rooted in a strong DIY ethic. Having released their first two albums "For The Wild At Heart Kept In Cages" (2019) and "Songs of Desire Armed" (2022) for Catalyst X Records (Gather, Nueva Ethica, Abnegation, Birthright, Maroon, Point Of No Return, Forward To Eden), "Age Of Grief" now marks CLEARxCUTs debut for LIFEFORCE RECORDS. Started in the mid-1990ies as label with mainly vegan and straight edge bands, the German Label has an impressive history with XVX bands such as ARKANGEL, DAY OF SUFFERING, RANCOR, UNCONQUERED, UNBORN, FAULT, or DEADLOCK. Being a collective that is outspoken in its message and keeps the vegan straight edge banner high, CLEARxCUT continue this tradition. Also besides having switched their label, "Age Of Grief" marks a fresh start for CLEARxCUT. After a big shift in their ranks, before the global pandemic hit, the band moved from two (female) vocalists to one (male) frontman. This is accompanyed by a change of sound. On their third full lenght album, the German band is diving into the realms of metallic hardcore, leaving behind their early hardcore punk influences. Noone should be surprised by this move, as CLEARxCUT was conceived as a collective where members, names, or styles wouldn’t matter, but one and only the final goal of spreading a positive message in defense of animal rights and sober living. "Age Of Grief", in this respect, is extremely consistent.

The music from LES TONTONS FLINGUEURS (aka Crooks in Clover aka Monsieur Gangster) is as instantaneously recognizable as the James Bond theme thanks to a short and recurring melodic motif that can still stick in the heads of 21th century kids. Monothematism is a word used by musicologists to refer to the use of stylistic variations based on a single musical theme as can be heard in the Tontons : on the banjo, during the nose punch sequences, played jazz, blues, gloria or Hully Gally style. Though the Tontons music may on first listen sound nothing different than a straightforward yet catchy soundtrack, it turns out to be a real exercise in style. When reading Michel Magne's autobiography " L'amour de vivre " it clearly appears that mixing folk music and sound experiments was a mindful artistic choice. In the movie, Antoine Delafoy (Claude Rich) who is engaged to Patricia (the Mexican's daughter) is merely a Michel Magne caricature. He embodies a contemporary music composer in search of the " absolute anti-chord " by using a water tap. " We don't really know what it is but it's amusing ". In reality and despite his classical musical education, Michel Magne has indeed had a venture into avant-garde music, going as far as organizing an infrasounds concert at the Salle Gaveau venue (Paris) on July 15th, 1954. Infrasonic frequencies which quickly made the audience run for the toilets. On December 3rd,² 1956 his low-frequency sounds contributed to an " empirique " show at the Théâtre des Trois Baudets (Paris) with Alexandro Jodorowsky, Jean Michel Rankovitch and Tinguely. At the same time he wrote music on words by Françoise Sagan for Mouloudji. Again with this desire to cross the boundaries of musical genres. He recorded in 1959 an album of " musiques tachistes " from which a show with dances was staged by Michel Descombey. His taste for provocation and avant-garde did not prevent Michel Magne from composing and arranging popular music. He hence wrote the music for six Georges Lautner movies including the famous Tontons Flingueurs in 1963.Being part of the avant-garde long-haired world what could Michel Magne think of Michel Audiard ? A most kind character who had nevertheless been burned by supporters of the " nouvelle vague " including journalist Henry Chapier who described Les Tontons Flingueurs as being " chansonnier " cinema (in Combat 1963), meant for disenchanted quinquagenarians. Audiard had responded to Truffaut, another of his dispisers : " Dad's movies filled theaters, son's movies empty them. We should have been warned : with its seaside sounding name the Nouvelle Vague (new wave) drove millions of viewers out on the countryside ". In between melodic effectiveness and daring arrangements and tonality, Michel Magne's work is worth being listened to with fresh ears, cleared of clichés !

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

Senegalese singer Youssou N'Dour, once described by Rolling Stone as ""perhaps the most famous singer alive in Senegal and much of Africa"" and ranked 69th on the magazine's list of the greatest singers of all time. It is easy to say that Youssou N'Dour is an icon. ""The Guide (Wommat)"" is his most successful work commercially. The duet with Neneh Cherry, ""7 Seconds"", is still one of the most successful and important protest songs of the 20th century. The Guide (Wommat) is for the first time available as a 2LP-set. The album is available as a limited edition of 1500 individually numbered copies on yellow, red & orange marbled vinyl and includes an insert.

The Guide (wommat) by Youssou N Dour, released 19 April 2024, includes the following tracks: "Without A Smile (Same) ", "7 Seconds (Duet with Neneh Cherry)", "Generations (Diamono)" and more.

This version of The Guide (wommat) comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a yellow disc. Another vinyl is pressed as a marble, red & orange disc.

“Tea House From Emperor Roscoe” by Dice The boss aka Pama Dice was first released as a B side of the early Reggae classic “She Caught The Train” by Ray Martell released in 1970 on the Trojan sublabel Joe (which we will also release separately on the 22nd of March 2024) whilst “Brixton Cat” was released in 1969 on the Duke Label under a Joe logo.
Both titles are skinhead reggae classics that have never been reissued and are very much demand.

About Dice The Boss/ Pama Dice:
Not much is known about Dice The Boss. His real name was Hopeton Reid and he was alternatively known as “Pama Dice”. But we know more about Pama Dice thanks to Gaz Mayall!
"Pama Dice was one of Prince Busters ‘no-shoes’ ‘Sunday school gang in west Kingston Jamaica. According to the Prince there wasn’t a car that Pama couldn’t nick. He used to nick the cars uptown with no shoes on & take them to the ghetto to teach the youth to drive. They were called the Sunday school or no-shoes gang as they were so poor that they only had one pair of shoes each & only wore them to church on Sundays. Pama Dice rose in the ranks to become one of Prince Busters main sound system DJs before emigrating to London in the late sixties where he MC’d for Duke Vin & recorded many great records for the UK/Jamaican booming new Reggae market in its infancy on the shoulders of the Bluebeat & Ska & Rock Steady music scene."

Author, charity boss, furniture repairer, tv star, there's not much that Jay Blades hasn't covered. Now to add to his CV, this fine hand-picked compilation of unreleased Peckings recordings.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

This 4 track 45RPM 7inch comes to you courtesy of Copacetic Frequency Productions. 2 vocal cuts by Ozzie Dee & Izaba, a melodica cut by Ray Ranking & the version by label owner Dawehdread.

Engineered & mixed by Dawehdread & Kingsway at Earth Works Amsterdam.

Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.


Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.

It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.

Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.

Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.

Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.

Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”

As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.

Bad Manners proudly presents Nite Fleit debuting on the label with 5 oceanic cuts. Her signature blend of high-octane techno, acid and electro shatters expectations and perfectly fits the label's vision. Brace for a bold proclamation of sonic supremacy, solidifying Nite Fleit's ascent through the ranks of electronic music hierarchy.