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Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

30 Jahre nach seinem letzten Besuch in Japan ist John Williams für ein besonderes Konzert zurückgekehrt
- er gibt sein Debüt mit dem weltberühmten Saito Kinen Orchestra mit Interpretationen seiner geliebten
Filmmusiken und trifft seinen langjährigen Freund, den weltberühmten Dirigenten Seiji Ozawa (1935-2024),
wieder. ”John Williams In Tokyo” wurde letztes Jahr live in der Suntory Hall aufgenommen und wird nun
von Deutsche Grammophon veröffentlicht. Es folgt auf seine gefeierten Konzertalben ”The Berlin Concert”
und ”John Williams In Vienna”, die weltweit die Charts anführten.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

The Californian funk-pop singer is due to release her new album. Remi is set to perform at Glastonbury this year and will be supporting Olivia Rodrigo on the UK leg of her world tour. She will be also headlining her solo tour later this year. Wolf previously revealed her new album was about “transition” in a press statement, focusing on her interpersonal relationships. “I think in writing this record, there was no ounce of my life that was grounded except for this one relationship I have which a lot of the record is about”, she said. “And I love writing about love and the trials and tribulations of love, and of my own mind and living in my own body, so those themes are still running very strong.”

In the penultimate episode of his widely popular and critically acclaimed HBO series, Painting with John, its creator, John Lurie, sat in a Manhattan recording studio, working out musical parts for the show’s soundtrack. “After the illness started, I didn’t think I’d ever be able to do this again,” said Lurie.

Even as he occupies an enigmatic, multi-faceted, five-decade career characterized by the unexpected, perhaps even Lurie is surprised by this new release of a double-album collection of music, Painting with John, extracted from the series.

Go back a quarter-century or so: As an exotic saxophonist and composer whose pieces alternately recalled cracked-mirror reflections of Thelonious Monk, or Fela Kuti, or Raymond Chandler, Lurie led the vastly influential, downtown NYC jazz ensemble, The Lounge Lizards, through dazzling albums and tours across the globe. He scored indie films and Hollywood hits, collecting a Grammy nomination for Get Shorty along the way and releasing his own surreality-TV series, Fishing with John.

Pledging to Keep It Alive with her debut album in 2022 (In The Red), Liz Lamere doubles down with her latest full-length second album, One Never Knows, released on In The Red. Dedicated to her late partner Alan Vega, with whom she collaborated on his solo works for over three decades, Lamere’s minimalist approach to creating music is clearly in line with the Vega aesthetic that she helped develop with him during countless experimental hours in the studio since the late ’80s. Lamere teamed up again with her and Vega’s son Dante Vega Lamere in their Dujang Prang NYC home studio surrounded by the Suicide singer’s spectacular light sculptures, co-producer Jared Artaud, and mixing and mastering engineers Ted Young and Josh Bonati. Vega had always encouraged Lamere to create her own music. After he passed away, she began writing as a form of catharsis which became the inspirational bedrock for her solo music. Lamere said, “At the end of Alan’s life, he was using the expression ‘one never knows’ to underscore that we don’t know how much time we have in this realm or where this journey will lead us. It was a phrase that had resonated so much for me. Alan taught me to go bravely into the unknown; to be fully present in the moment and deeply explore what is already here.”

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

2024 Restock

- 10TH ANNIVERSARY EDITION OF TESS PARKS DEBUT ALBUM.
- GOLD VINYL, GATEFOLD SLEEVE, HANDWRITTEN LYRIC BOOKLET.
A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music.
Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.
Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and“smouldering voice”.
Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.
‘Blood Hot’ is inimitably confident. It’s slow and psychedelic at times, while being loud and ready to fill a stadium at others. There isn’t a moment on the album that isn’t relatable or that doesn’t ring to the tune of a timeless classic to be talked about for years to come (the same way people discuss The Velvet Underground or My Bloody Valentine records today).
Her cult-like following has turned into a movement. And Tess is gladly leading us all back into that space within ourselves, both deeply personal and entirely universal. Incredibly relevant yet timeless.Cool and anti-cool. An enigma that doesn’t need solving. Tess Parks is as she’s always been. Her best work is already out there. And her best yet is still to come.

Una Magnum Special Per Tony Saitta (aka. Blazing Magnum: Strange Shadows In An Empty Room)> is a cop movie directed in year 1976 by Alberto De Martino and starring Stuart Whitman, Martin Landau, Tisa Farrow, and Gayle Hunnicutt. It was co-produced by Italy and Canada. An Ottawa police captain searches for the person who poisoned his sister, who was attending the university in Montreal. Later on, he desperately starts to use his own brutal methods to find the killer, but the truth turns out to be something different than what he had expected.

Trovajoli has composed and conducted a score that elegantly occupies a place of all respect in the Cops/Giallo movies’ scoring. The score alternates between action-driven funky music to nostalgic/romantic music in a reflection of the two dimensions of the protagonist: his cop job full of tasks and his private life full of sadness, but he becomes the superhero of the story by taking vengeance against those who hurt him by killing his beloved sister, and ultimately discovering the unexpected truth. For this vinyl album the original record master in stereo sound was used, restored and remastered to the highest quality. More or less the music in the movie is featured on this album, prepared for release by the composer himself for a very fine listening experience. Enjoy a half-hour with Armando Trovajoli and his cool sound!

In a joint venture with Weird Vacation, fmd is pleased to announced the long overdue reissue of the classic Plush debut album, More You Becomes You. Originally released in 1998, More You Becomes You was revered upon release and has been remastered from the original tapes by Jason Hillier with new Digital and DL masters created by Bob Weston who also recut new lacquers for the vinyl reissue. Described by Uncut magazine as “One of the most charismatic and eccentric pop craftsmen of the past twenty years”, Liam Hayes has been making critically acclaimed records since the 90’s. His first single “Three-Quarters Blind Eyes b/w Found a Little Baby” released under the moniker Plush, was cited by the NME as being “..one of those rare records - and incredibly rare debuts - that instantly seems a classic..” Although he emerged from the Chicago indie-rock scene, Hayes is often compared with artists such as Jimmy Webb, Brian Wilson, Laura Nyro and Harry Nilsson. Like some of the best folk-pop or soft soul from the 1960’s and 1970’s there is a timeless quality to his music. Re-release of debut album More You Becomes You is remastered from the original analogue tapes by Jason Hillier and recut for vinyl by Bob Weston, who also remastered the CD and Streaming formats. A deluxe 12 page full size booklet comes with the LP version (which also comes packaged as close to the original as possible, with a printed outer envelope/bag) and a 20 page booklet comes with the CD version put together by Liam and Jason Harvey, with Sleeve Notes by John Mulvey.

An exciting new collaboration between New Mastersounds Hammond organist and Madrid based guitarist Lucas De Mulder plus drummer Luke Flowers (Cinematic Orchestra). Recorded at Joe's home studio on his cherished C3 Hammond (where The New Mastersounds' latest album "Old School" was recorded Galáctico will delight vintage jazz-funk fans with nods to Jimmy Mcgriff, Dr Lonnie Smith,George Benson etc etc. Joe and Lucas worked together on Lucas's album "Feel the spirit" in 2019 on Color Red label based in Denver.
The trio will be launching the record at the Saint Paul Soul Jazz festival in the south of France on 7th July and continue to play a series of other fgigs through-out the summer
The album starts with the frenetic James Brown groove of Double Take - a catch jazz guitar head that builds moving up in key to a frenetic hammond solo punctuated by The Haggis Horns.
Track 2 is the Meters-esque "Hey!" The only English language vocal track on the record and at that only one word
Next up is "El Gato" featuring Sam Bell on Congas and Atholl Ransome and Malcolm Strachan from the Haggis Horns a latin four to the floor vibe with solos traded throughout
Guinnee Drop is a swaggering funk jam with Luke Flowers funk drums breaks a feature
The only cover on the album is Sixto Rodriguez' Sugarman - Lucas and Joe were both inspired by his story and loved the song so much it had to go on the album with a mellow instrumental twist
The title track "Galáctico" is has funky soundtrack tune - the horns are back and take the track out with some blistering solos
"Retiro" inspired by the park near Lucas's pad in Madrid is a laid back boogaloo vibe and has Sam Bell on Congas and an upright piano solo from Tatton
"Dame Lo Que Tienes" - The first single from Joe Tatton's second album "Give me what you got!"- led by a funky guitar riff followed by a cutting hammond melody - a little "Meters, Booker T, The Crusaders "!
"Moonbow" a hypnotic slower tune with a nod to Khurangbin
The final track on the album is "Lost on You" A Breezy George Benson nod along
Out on vinyl, CD and digital on 5th July !

Oliver Leiths von der Kritik gefeierte Kammeroper "Last Days", basierend auf dem Gus Van Sants Kultfilm "Last Days", feierte im Oktober 2022 in einer ausverkauften Aufführungsreihe im Londoner Royal Opera House Premiere. Mit der bewährten Starbesetzung in ihren ursprünglichen Rollen entstand nun diese 90-minütige Studioaufnahme, auf der das 12-köpfige Ensemble unter der Leitung von Jack Sheen den Anker von Leiths straff ausgearbeiteter und zutiefst fantasievoller Partitur darstellt.

- "Oliver Leith's score is a sonic tapestry interweaving delicate instrumental effects, 'found' sounds, and a cappella vocal timbres." - The Independent
- "Leith's score, brilliantly rendered by 12 Ensemble under Jack Sheen, is starkly original." - Bachtrack
- "Jack Sheen conducted the slick 12 Ensemble… balancing the push-pull sternness and rapture of a score that surely has a real future ahead." - Opera

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

Gallegos, first name Oliver - deals in feelings rather than genres. The productions on his debut effort for RS INTL channel a 90’s rave euphoria. Luscious pads swirl amidst pitched down jungle drums, celestial strings and philosophical vocal snippets that evoke ecstatic joy.

It’s no mean feat to induce a feeling of elation without the means of a synthetic intervention - but Ollie seems to have cracked the code - taking us there with harmony, texture and rhythm alone - nothing synthetic here: this is alchemy at play... The EP - which in all honesty feels more like a mini album - is a real journey across 5 songs and 29 minutes. It’s about equally split between driving rhythmic compositions created with movement in mind, and pensive ambient detours that are more sonic meditations than anything else. The album reaches its most dizzying heights when these two elements come together in unison for the title track, “Memories You’ve Memorised'' - a widely road-tested future classic which blends scattered Juno chords, arpeggiated church organ and 80s vocal samples to a tear-jerking crescendo.

Memories You’ve Memorised elevates Oliver Gallegos to the top tier of modern electronic composition. There’s comparisons to be made to Primal Scream, Underworld and even Aphex Twin - but after all is said and done, we’re witnessing the coming of age of a future pioneer.

"Androids may not yet dream of electric sheep, but maybe computers do sing sad songs."

In 2013, Tzoukmanis released ‘Hope Is The Sister Of Despair’, issued here for the first time on vinyl with 4 previously unreleased tracks.
The album was made following the end of a relationship and the happy/sad feeling is everywhere in this music. Sequences twinkle and nag, soft pads pour balm on tired ears and when drums do appear they provide an intimate framework rather than a call to the dance floor. The album taps into a rich vein of sequencer romanticism, from Tangerine Dream-obsessed-‘Berlin School’ daydreamers to the whole nebula of music inspired by Warp’s Artificial Intelligence series. It also looks forward, prefiguring the return today, in troubled times, to the comforting inner space of ‘90s-worshipping ambient techno.

The German word ‘weltschmerz’, roughly translating as ‘world sadness’, fits this music well. The melancholy it inspires feels collective, almost heartening. Sorrow might be said to infuse the technology’s basic building blocks – Leibniz’s binary ‘one’ bereft of its ‘zero’, its presence twinned with absence. But there is hope, too, in the network of actions and decisions that have been fashioned here into melody and rhythm.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Gabriel Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks. Like one of his own espoused patron saints, Paul Simon, Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcra and pinpointing unexpected new aesthetic contexts for it. The lush and psychedelic folk-rock songs on his new album Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice, and a consistently surprising musical syntax. As much as anything Birmbaum has put into the world, it's a tour de force that thrives on both self-assuredness and restlessness_marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into its frequency.

Prehistoric Sounds is the third studio album by the Australian punk rock group The Saints, released in 1978. This was the final album to feature founding lead guitarist, Ed Kuepper, who left the band shortly after the release. The record was described by AllMusic as ""the textbook by which to make a great rock record where horns play as much of a role as guitar"". In 2010, Prehistoric Sounds was listed in the top 50 100 Best Australian Albums. The album features two cover versions of the soul classics ""Security"" by Otis Redding, and ""Save Me"" by Aretha Franklin. Prehistoric Sounds is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

Repress!
Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

"Light Up The Sky" ist die zweite Veröffentlichung von SUNBOMB, der musikalischen Allianz zwischen zwei unerschütterlichen Vertretern der
amerikanischen Hard Rock/Metal Szene, Tracii Guns und Michael Sweet.
Es ist eine Hommage an den klassischen Heavy Metal der 80er Jahre und vereint Einflüsse klassischer Metal-Bands wie Black Sabbath, Ozzy Osbourne,
Dio und Judas Priest. Die Musik ist sehr heavy und fest in der Kategorie 'Metal' verankert, mit einem Augenzwinkern zu einem traditionellen Ansatz
des Genres. Während Tracii die Musik für das Album schrieb, machte die Tatsache, dass Michael Sweet auf den letzten Stryper-Alben einen
zunehmend härteren Stil verwendete, ihn zur perfekten Wahl für den Gesang auf dem Album.
Tracii ließ die Neuigkeiten über das neue Projekt in einem Tweet im März 2019 durchsickern, in dem er die Debüt-LP des Projekts als "die
Metal-Platte, die ich mit 17 Jahren gemacht hätte" beschrieb. Tracii hat auf dem Album alle Gitarren und den Bass gespielt, die Drums wurden von
Traciis altem L.A. Guns-Bandkollegen Adam Hamilton übernommen.

Through the folded sky to America

Ten albums in three years. That's still the cosmic mission of the Berlin post-kraut trio YELKA with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier.

With the album "For," there was a Label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. Karaoke Kalk is a friendly label founded in Cologne known for establishing the Berlin post-wende scene (fall of the wall scene).

The trio's fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover "The Crystal Ship," were created in 5 days in the studio, mostly on the first or second take, but with significantly more overdubs - keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of "For" has become warmer, and the album begins with a kind of 60s-Kinks feeling. Overall, the current record has become much more exuberant - like Alice in Wonderland, YELKA seem to want to restore innocence to things in the opener "Smile (Into Skies)," resulting in an uplifting hiking song for experimental outdoor bohemians.

The follow-up piece "The Boar" speaks to everyone from the north, south, west, and east and here YELKA encounter a horde of wild boars on their travels, before the vocals become hardly understandable and ghostly spooled in reverse, suddenly sounding like Damo Suzuki from CAN at the height of Tago-Mago times.

Finally, YELKA‘s "Crystal Ship," simply sails away with the wild boars into remote 4D worlds between the Cocteau Twins and X-Mal Deutschland.

In the first instrumental of the album "Is this enough?", the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and we dive deeper and deeper into the endless sky until YELKA finally arrive on newly trodden sound paths with "MM" to their beginnings on their debut album "Nowhere Jive." At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment: "Sie wissen" (They know), he knows that too! Surely Rolf-Ulrich Kaiser would have had a lot of fun with his shamanistic singing on his "Kosmische Kuriere" label. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track "Skies."

Finally, we land in Amerika, or rather, YELKA ponder the melancholic question of whether anyone still wants to travel to America with them, to the land of unlimited possibilities, the haven for artist souls all over the world. "Do you wanna dance?" Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats "Cold dogs, cool cats." The whole band sings. Everything sounds good.

Sanctify the Darkness ist das zweite Studioalbum der griechischen Thrash-Metal-Band Suicidal Angels in voller Länge. Das Album wurde ursprünglich im November 2009 veröffentlicht, hier kommt eine neue Ltd. Edition LP in ziegelrotem Vinyl.

Sanctify the Darkness ist das zweite Studioalbum der griechischen Thrash-Metal-Band Suicidal Angels in voller Länge. Es war das erste Mal, dass die Band die Grenzen Griechenlands verließ, genauer gesagt nach München (Deutschland), um ein Album aufzunehmen, von Anfang an bis zum letzten Detail des Masters.

Es ist auch das erste Mal, dass die Band mit einem Produzenten zusammenarbeitet, R.D Liapakis. Die Aufnahmen fanden in den Prophecy und Music Factory Studios statt, während das Mischen und Mastern in den Maranis Studios in Backnang, Deutschland, stattfand. Die Veröffentlichung des Albums fand im November 2009 statt, hier kommt eine Neuauflage in ziegelrotem Gatefold Vinyl.

Slow Dancer is the sixth album by Boz Scaggs. It was originally released in 1974, two years before ""Lowdown"" hit it big. Although the 1976 Silk Degrees was Boz Scaggs' big commercial breakthrough, Slow Dancer is already filled with songs as catchy as the follow-up album. Producer and Motown owner Johnny Bristol helped Scaggs give the album an urban soul sound that creates an exciting mix of soul and pop-rock. Slow Dancer is available as a 50th anniversary edition on yellow coloured vinyl and includes an insert.

Sid Spada unveils his first project, STELLAGONY, a unique musical adventure. After several collaborative projects, the Geneva rapper withdrew to craft nine tracks. Nine unique pieces in the sonic puzzle that contemporary rap has become.

STELLAGONY is a chronicle of adolescence, its wanderings, its parties, its excesses, and a certain form of self-destruction. Entering a new phase of his life, Sid Spada scrutinizes his last ten years to narrate his mental and artistic evolution. This project is like a window to the past that allows its author to step back and embrace the future possibilities serenely.

This artistic maturity forged during long months in the studio opens a new era. Each track, shaped by RougeHotel's production (Stranacorpus), who co-signs all the instrumentals of the project, serves as a sonic exploration rather than following fleeting trends.



The album's atmosphere dances between melancholy and the fantasy permitted by hyperpop, drawing from Latin and club sounds. A skillful balance between dark emotions and avant-garde energy is established.

STELLAGONY, produced by Sid Spada's label iuven, is set for release in the spring on Les Disques Magnétiques, a Geneva-based label affiliated with Bongo Joe Records.

" Brand new vinyl reissue to celebrate the 40the anniversary of zouk pioneers Kassav’ .

Who hasn’t retained at least one memory of the group Kassav’ from their youth? For whether in concert, or onthe radio or TV, the image of Kassav’ remains vivid inthe minds of listeners and spectators.

The group,founded in 1979 by Jacob Desvarieux, Georges andPierre-Edouard Décimus, has become legendary, putting Guadeloupe and Martinique on the musicalmap of the world. Touring the world with zouk, amusical movement introduced and popularized by Kassav’, their albums have repeatedly been rewarded with both gold and platinum discs .A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void. The mix of Jacob Des varieux and George Decimus with Jocelyne Béroard, Jean-Philippe Marthély, Patrick Saint-Éloi and Jean-Claude Naimro has played soldout concerts in 82 countries. With texts recounting reallife in the Caribbean world their lively music draws on the rhythms of Guadeloupe’s gwo-ka and Martinique’sti-bwa. Transcending the well-defined codes of Caribbean music, they have turned the 1980s and all the succeeding decades into a fabulous ballroom.

They have been welcomed in Japan and the USSR, where they became the first group of black musicians to tour. Forty years after the group’s creation, their timeless hits continue to resonate. "

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

"A Single History 1991-2001" ist eine erweiterte und neu gemasterte 25-Jahres-Jubiläumsausgabe der vergriffenen Singles und Compilation-Tracks des mythischen Trios aus Olympia, Washington. Von den ersten Post-Hardcore-Klängen auf "Crab Nebula" bis zum Dub-inspirierten Todesmarsch von "Behold The Salt" füllt diese 23-Track-Doppel-LP die verzerrten Lücken der ersten sieben Alben und versammelt Reste aus dem ersten Jahrzehnt von Unwound. "Ich würde lieber verwesten Fisch essen, als mir das hier anzuhören"

"A Single History 1991-2001" ist eine erweiterte und neu gemasterte 25-Jahres-Jubiläumsausgabe der vergriffenen Singles und Compilation-Tracks des mythischen Trios aus Olympia, Washington. Von den ersten Post-Hardcore-Klängen auf "Crab Nebula" bis zum Dub-inspirierten Todesmarsch von "Behold The Salt" füllt diese 23-Track-Doppel-LP die verzerrten Lücken der ersten sieben Alben und versammelt Reste aus dem ersten Jahrzehnt von Unwound. "Ich würde lieber verwesten Fisch essen, als mir das hier anzuhören" -

2024 sees the release of Georgia’s fourth studio album - Cool Head. Written in the year after her husband and collaborator was taken seriously ill, Georgia describes the album as a long drive through night into morning. "Cool head," a phrase her dad would always use to urge calm thinking, presents a candid and affecting collection of songs, spanning wide-open Americana to 60s- influenced folk ballads. Recorded in Sain studios, near Caernarfon, the album features contributions by Iwan Huws (Cowbois Rhos Botwnnog), Stephen Black (Sweet Baboo), Gwion Llewelyn (Aldous Harding) and Rhodri Brooks (Melin Melyn). With Gorky's Zygotic Mynci stalwart Euros Childs adding his unmistakable vocals to a couple of songs, this is a truly Welsh affair. It also features string arrangements by Gruff Ab Arwel, whose ear for melody brings a new dimension to the songs. These are performed by Angharad Davies, Angharad Jenkins and Patrick Rimes. The album is co-produced with long-time collaborator Iwan Morgan

The Very Best Of Londonbeat is the 1997 compilation by British dance-pop band Londonbeat, who scored a number of hits during in the early 1990s. By the time this compilation was released, Londonbeat had released a total of four studio albums, Speak, In The Blood, Harmony, and Londonbeat. This 2LP compilation features their biggest hits, including ""I've Been Thinking About You"", ""9 AM (The Comfort Zone"", ""You Bring On The Sun"", ""A Better Love"", ""Failing In Love Again"" & ""No Woman No Cry"". The Very Best Of is available on vinyl for the very first time as a limited edition of 1000 copies on blue coloured vinyl and includes an insert.

Rare debut LP by the eccentric Peruvian singer Jean Paul "El Troglodita", known for his wild performances and extreme way of life. Enrique Roberto Tellería made his Peruvian television debut in 1965 under the stage name Jean Paul El Troglodita and wearing an imitation leopard skin suit. He would switch from melodic calm to shouting wildly or suddenly drop to the floor on his knees and smash the furniture like crazy. At the age of 19, DisPerú signed him to the label on the strength of these early performances. His first single included a freely translated version of 'Secret Agent Man' in Spanish. He began to work on the eleven cover versions that would feature on his first LP immediately, writing all his own lyrics and accompanied by the beat band Los Steivos. Despite the predominance of English beat music in Peru, the album only included three songs directly related to the British invasion: 'Bus Stop' by The Hollies, also played in raga rock style; 'Paint it Black' by The Rolling Stones; and 'The House of the Rising Sun', which follows the arrangement recorded by The Animals. So most songs come the American songbook. Apart from 'Tema de El Troglodita' (a versión of 'Secret Agent' by The Challengers), we find the bluesy 'Mustang Sally' (Sir Mack Rice). Two other US numbers, originally performed with orchestral accompaniment, were adapted to fit the rock band format: 'Poor Side of Town' (Johnny Rivers) and 'Take Me to the Moon' (Kaye Ballard). 'El verdadero amor' ('True Love'), an uncredited version is in a similar vein. The Spanish song 'Negro es negro' (Los Bravos) and the Brazilian track 'Que todo se vaya al infierno' (Roberto Carlos) also feature on the LP. El Troglodita's association with the so-called nueva ola, indicated on the back cover, needs clarification. In Peru, nueva ola was a mixed bag rather than a specific musical style and encompassed slow rock, twist, bossa nova and all the styles that the record industry produced to tame the wild rock 'n' roll impulses of teenagers in the early sixties. The Peruvian artists that performed these inoffensive Spanish adaptations of Paul Anka, Neil Sedaka or Frankie Avalon, were presented as successful models of youth culture. This was until 1964, when the Beatles with their mop-top haircuts hit the charts, vindicating rock 'n' roll and imposing the group format over the soloist model. Meanwhile the press continued to call any youth music recorded during the rest of the decade nueva ola. Jean Paul noted these distinctions early on and distanced himself from it in several statements. He saw his performance more in a style as a solo artist as following in the footsteps of e.g. Los Saicos. His 'hippie' lifestyle got him arrested by the new de facto military government in 1968, who accused him of promoting drug consumption and corrupting the Peruvian youth. The charges were soon dropped but his reputation was tarnished, and he ended up emigrating to Central America. The album includes Spanish sung versions of British beat songs and covers of the American songbook as well as various international hits.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Next up on our new Toolroom Trax vinyl series, we kick things off with a fresh new banger from Italian talent Nausica who with another deep club cut 'Se Pone Loca'. Featuring rolling percussion, a hooky lead vocal with expertly placed chops, 'Se Pone Loca' is looking to lay carnage on the dancefloor. Nausica's mastered her infectious minimal, percussive sound that has seen the likes of AAA talent support her music from John Summit, to Jamie Jones, MK to Solardo proving Nausica's a name many acts are reaching for in their sets! D.Ramirez returns to Toolroom Trax with his highly anticipated remake of Bodyrox's anthemic 'Yeah Yeah'. Firmly rooted within Toolroom's foundations, releasing genre defining dance music for nearly two decades with hits such as 'Downpipe' in collaboration with label boss Mark Knight and UK pioneers Underworld, 'Colombian Soul' and many more. D.Ramirez doubles up as not only a genius in the studio, but as one of the talented Toolroom Academy tutors, teaching a new generation of producer's fundamental skills in dance music production. Remaking the Bodyrox Electro House classic 'Yeah Yeah'; an era defining masterpiece with an unforgettable synth line, D.Ramirez gives us an essential update for today's dancefloors. Label favourites, Sllash & Doppe return to Trax next with their unique style of uplifting, feel good house music. Their music is regularly found in the sets of artists like Fatboy Slim, Solomun, Bedouin, Blond:ish, Martin Solveig, Roger Sanchez and more, and the playful cousins are now conquering the world, from deck to deck, with an energetic and exuberant style that has won them favour on the dancefloors.

Closing out the sampler is Saison with their signature house sound. The London based duo have been solidly in the game for the best part of a decade perfecting their unparalleled sound of raw, feel-good house music at it's very best. With numerous releases on revered labels including Defected, Nervous, Big Love and of course their own imprint, No Fuss.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Following on from our previous successful Little Feat releases: "Waiting For Columbus" Super Deluxe in 2022 and "Sailin' Shoes" + "Dixie Chicken" Deluxe Albums in 2023 This new offering from one of Rhino's Top 100 Off Roster artists includes the original studio album cut from the analog tapes for the double LP, and a remastered version plus a previously unreleased live show recording on the 3CD.

Both configurations include a rarities disk of previously unreleased studio outtakes that were once thought lost when the recording studio, located on a boat in Maryland, sank in the late '70s. While it's true that some of them sank, this is what remains of those sessions.

The previously unreleased live show on the CD is from the Warner Bros. Music Show tour of Europe in January/February 1975. This is the tour where Little Feat's star really rose in Europe and where LF routinely swept their tour mates off the stage - including the Doobie Brothers, Tower of Power and Montrose