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Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

'We are thrilled to be able to bring you Yara Asmar's first two cassette releases in a deluxe remastered double vinyl gatefold package featuring all new art and design from Yara herself.

Both albums were originally released on Hive Mind Records in 2022 and 2023 and received critical acclaim around the world':

“Melancholic drifts sound through the overcast skies of synth waltzes and accordion laments, infusing ageless melodies with a sense of falling backward through time. History is stitched through gilded aural silhouettes and elegiac drones. Asmar’s music is visceral. While electronics beckon beyond the sunrise stretched through a metallic shimmer, synth waltzes and accordion laments sticks with us while we remain lost in the hazy doldrums, always crawling forward tethered to our past lives. Highest recommendation.”
Brad Rose, Foxy Digitalis

"...these tracks are a cushion against reality. Asmar creates music that unfurls in evanescent bliss, an invitation to a safe space both isolated and welcoming."
Daryl Worthington, The Quietus

"...a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty"
Eric Torres, Pitchfork Best Jazz & Experimental Albums of 2023

"The combination and contrast of highly familiar and highly alien elements give Asmar's music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking."
Byron Coley, The Wire

Ten years after its original release, after having sold thousands of copies on CD and collected millions of plays all over the world, "Canzoni" is finally available on vinyl, in a deluxe edition – double vinyl with gatefold sleeve – the album that revealed Chiara Civello's talent as an interpreter, attesting her artistic depth on international stages.

A record which embraces the Italian musical tradition in all its facets, capable of moving through Northern Soul, Bossa Nova, Blue Eyed Soul, Jazz and Pop. Produced by Nicola Conte, recorded in analog between Bari, New York and Rio de Janeiro, and enriched by the participation of extraordinary guests, including Gilberto Gil, Chico Buarque, Ana Carolina and Esperanza Spalding, with orchestral arrangements by the legendary Eumir Deodato, "Canzoni" still proves to be a very successful work today, capable of honoring the beauty and depth of Italian music, demonstrating once again Civello's status as a timeless musical icon.

CREDITS

Produced by Nicola Conte
Executive producer: Quarter Moon Inc.
Additional production: Ettore Caretta
Bari production coordination: Bass Culture

Orchestral Arrangements: Eumir Deodato
Flutes arrangement on "Senza Fine": Magnus Lindgren

Recorded mixed and mastered by Tommy Cavalieri at Sorriso Studios, Bari, Italy
Additional recording studios: CNSO Recording Studios, Prague / #AC Studio, GG Studios, Rio de Janeiro / Pat Dillet's Studio, New York City
Additional engineers: Eduardo Andrade, Renato Godoy, Pat Dillet

Gilberto Gil appears courtesy of GEGE Producoes Artisticas
Chico Buarque appears courtesy of MAROLA
Ana Carolina appears courtesy of Armazém Produtora e Editora Ltda

Album cover: Daniela Boccadoro
Photos by Fabio Lovino
Graphic layout: Eugenio Crippa















[o] 15: I Mulini Dei Ricordi (The Windmills Of Your Mind) [feat. Esperanza Spalding]

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7". Video Age make breezy and timeless songs that are so ineable, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

This 20th Anniversary Limited Edition 8LP Super Deluxe Collectors Boxset celebrates the critically-acclaimed album ‘How To Dismantle An Atomic Bomb’ – which won all eight Grammy Awards for which it was nominated, including ‘Album of the Year’. The original album - now remastered for the first time – includes the global hit singles ‘Vertigo’ (winner of three Grammy Awards), ‘City Of Blinding Lights’ and ‘Sometimes You Can’t Make It On Your Own’. This unique boxset also includes the shadow album, ‘How To Re-Assemble An Atomic Bomb’, featuring new, unreleased songs recently rediscovered in the archive of the original HTDAAB album sessions.

This 20th Anniversary Limited Edition 8LP Super Deluxe Collectors Boxset celebrates the critically-acclaimed album ‘How To Dismantle An Atomic Bomb’ – which won all eight Grammy Awards for which it was nominated, including ‘Album of the Year’. The original album - now remastered for the first time – includes the global hit singles ‘Vertigo’ (winner of three Grammy Awards), ‘City Of Blinding Lights’ and ‘Sometimes You Can’t Make It On Your Own’. This unique boxset also includes the shadow album, ‘How To Re-Assemble An Atomic Bomb’, featuring new, unreleased songs recently rediscovered in the archive of the original HTDAAB album sessions.

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

PIG DESTROYERs wegweisendes drittes Album TERRIFYER feiert sein 20-jähriges Jubiläum mit einer riesigen, limitierten 2LP und 2CD!
Die Deluxe-Wiederveröffentlichung bietet eine erweiterte Verpackung und neu remasterte Aufnahmen von TERRIFYER und Natasha!
Auf TERRIFYER brodelt PIG DESTROYERs beängstigend fesselnde Mischung aus Metal, Grind, Thrash und Punkrock mit einer Intensität, die den
Unvorbereiteten verunsichert. PIG DESTROYERs derangierte, bösartige Attacke hüllt den Hörer in einen Kokon aus grausigem Nihilismus.

Die Ära von Seiji Ozawa als Chefdirigent des Boston Symphony Orchestra überdauerte eindrucksvolle 29
Jahre – eine Zeitspanne voller musikalischer Höchstleistungen, die ihresgleichen sucht. Noch vor dem
offziellen Amtsantritt kreierte Ozawa mit seinem Orchester eine facettenreiche Aufnahme von Berlioz‘
Symphonie fantastique bei der Deutschen Grammophon, die von der New York Times als besonders „leicht
und quecksilbrig“ gerühmt wurde.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.

Re-mastered from the original Mono Master Tapes. Limited repress 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Essay written by Brian Priestley.

Double insert using an original photo by JP Leloir from the concert.

Artwork by Jean-Louis Duralek.

Each record has been visually checked to prevent defects.

A never-before released Art Blakey 1965 live recordings.

First official release with the full permission and cooperation of the Art Blakey Estate & INA (Institut National de l’Audiovisuel).

Art Blakey, Live in ’65 boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums.
Freddie Hubbard’s incendiary playing on “Blue Moon” and the blistering 24-minute version of his own “Crisis” shows that he was one of the most innovative trumpeters in jazz history.

On this live session, the audiences seem to have been enthusiastic and appreciative. “Everywhere we’d go people would say, This is the best Jazz Messengers we’ve heard!”, according to Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing…! And Blakey was ridin’ and floatin’ the time…but he would always be loose enough to follow, to keep it going. He’s one helluva musician.”

Recorded at Palais de la Mutualité, Paris, France, November 3, 1965.

Freddie Hubbard (Trumpet)
Nathan Davis (Tenor saxophone)
Jacki Byard (Piano)
Reggie Workman (Bass)
Art Blakey (Drums)

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

“For fans old and new, they can expect to be reintroduced to some raw, authentic, classic Detroit Hip-Hop from beginning to end.”-Phat Kat on the Deluxe Edition re-release of “Carte Blanche”.

Phat Kat’s phenomenal sophomore solo LP, “Carte Blanche”, first released in ’07 via Look Records, is the sound of Detroit. It’s gritty, soulful, and raw, three key ingredients in bringing the blue-collar city’s vibe to life in music form. It’s also a modern classic that is getting the deluxe edition re-release it deserves, Below System Records is adding two rare bonus tracks produced by late Detroit legend, J Dilla.

Anyone familiar with Kat or Dilla’s work knows the two shared a special bond. In fact, Dilla would often go to the gruff-voiced emcee whenever he was looking to create a particularly tough track. This friendship led to them forming the group 1st Down, and this re-release’s two bonus cuts, “World Premiere” and “It Don’t Get No Liver Than This (feat. La Peace),” which were recording in 1996 and ’97, respectively. Despite 1st Down never taking off due to label issues, Kat and Dilla remained close and recorded a number of underground classics. Those include several joints off “Carte Blanche”, such as the stirring “Don’t Nobody Care About Us”, “Game Time”, and the Elzhi-featured “Cold Steel”. It’s actually that last track that Kat picks as his favorite cut off the record.

“If I gotta choose one, it would have to be ‘Cold Steel’ because it makes you wanna wild out as soon as the beat drops”, he says, adding that this was the first time he got to choose a Dilla beat to rap over. “He would never let me rock over beat tape beats-he use to say ‘Nah Kat, just write to them cause I’m gonna make all ya shit from scratch.’ ”

The album also boasts collaborations with other Detroit rap heavy-hitters, such as Black Milk, Guilty Simpson, Nick Speed, and T3 & Young RJ (of Slum Village). With Kat as their host, they were able to not only capture the sound of the Motor city in 2007 (when the album was originally released), but also cement its place in the greater canon of hip-hop as we know it today.

2024 Repress

Re-mastered from the original Mono Master Tapes. Limited repress 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Essay written by Brian Priestley.

Double insert using an original photo by JP Leloir from the concert.

Artwork by Jean-Louis Duralek.

Each record has been visually checked to prevent defects.

A never-before released Art Blakey 1965 live recordings.

First official release with the full permission and cooperation of the Art Blakey Estate & INA (Institut National de l’Audiovisuel).

Art Blakey, Live in ’65 boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums.
Freddie Hubbard’s incendiary playing on “Blue Moon” and the blistering 24-minute version of his own “Crisis” shows that he was one of the most innovative trumpeters in jazz history.

On this live session, the audiences seem to have been enthusiastic and appreciative. “Everywhere we’d go people would say, This is the best Jazz Messengers we’ve heard!”, according to Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing…! And Blakey was ridin’ and floatin’ the time…but he would always be loose enough to follow, to keep it going. He’s one helluva musician.”

Recorded at Palais de la Mutualité, Paris, France, November 3, 1965.

Freddie Hubbard (Trumpet)
Nathan Davis (Tenor saxophone)
Jacki Byard (Piano)
Reggie Workman (Bass)
Art Blakey (Drums)

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

Acony Records proudly presents the debut album from Old Crow Medicine Show, available for the first time on vinyl. O.C.M.S. was originally recorded on analog tape at Woodland Sound Studios in Nashville, TN, and includes some of Old Crow’s most enduring songs, like “Take ‘Em Away”, “CC Rider,” and the platinum selling “Wagon Wheel.” The album, originally produced by David Rawlings, has been lovingly mastered for vinyl on Rawlings’ custom Ortofon amplifiers to a Neumann VMS-80 cutting system, plated and pressed at the all new Paramount Plating and Pressing in Denver, CO., and is presented in a deluxe gatefold package from Stoughton Printing.

"Continue celebrating the 50th Anniversary of seminal Deep Purple album Machine Head with the 2024 Dweezil Zappa remix available as a stand alone 1LP.

Machine Head stands among the most iconic Rock albums of all time, as it is featuring landmark songs such as “Smoke On The Water”, “Highway Star” and “Space Truckin’”.

The 50th anniversary of Machine Head is already being celebrated in style with the earlier release of a bespoke Deluxe box featuring a 2024 remix of the full album by Dweezil Zappa alongside a 2024 remaster on vinyl and CD."

Kaum eine Hardrock-Band hat in den letzten Jahren so abgeräumt wie die Ladies von THUNDERMOTHER! Ihr Album "Heat Wave" (2020) erreichte Platz 6 der deutschen Albumcharts (und später einen beeindruckenden Chart-Wiedereinstieg (Platz 16) mit der Erweiterung "Heat Wave Deluxe"). Nicht mal die Corona-Pandemie konnte die Band komplett ausbremsen und so spielte man u.a. Konzerte vom Dach eines Feuerwehr-Trucks. THUNDERMOTHER sind für die Bühne geboren, ihre energiegeladenen Liveshows muss man gesehen haben. Mit Ecken, Kanten, Attitude und einem feinen Händchen für große Melodien spielt sich die Band Schritt für Schritt Richtung Rock-Olymp. Und dieser kann nun, mit dem am 19.08.2022 erscheinenden neuen Album "Black And Gold", eingenommen werden. Die Band um Frontfrau Guernica Mancini fackelt ein wahres Hit-Feuerwerk ab. Die erste Single "Watch Out" sendete bereits die richtige Message: Achtung, hier sind THUNDERMOTHER und "Black And Gold" ist ihr Meisterwerk!

The most iconic holiday record in Verve Records’ repertoire and one of the most successful jazz holiday albums of all time like you’ve never heard it before! This expanded edition of Ella Fitzgerald’s classic 1960 album Ella Wishes You A Swinging Christmas features a second LP with six tracks making their vinyl debut - for the first time, all of Ella’s holiday recordings for Verve Records and Decca Records are together on one collection. Housed in a beautiful gatefold jacket featuring a “deluxe” take on Gene Grant’s classic 1960 album artwork, the package also includes a beautiful 8-page booklet with detailed session notes and essay from journalist Will Friedwald, plus a sheet of cut-out holiday ornaments – the perfect gift for any music fan. Nearly 65 years after its original release, Ella’s beloved holiday classic is now twice as long as it was in 1960. As Ella herself once said, “the only thing better than singing is more singing,” and the only thing better than the original Ella Wishes You a Swinging Christmas is the new, expanded edition!

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

Released to celebrate Albert King’s Centennial, his 1999 live album In Session, with Stevie Ray Vaughan is now available in it’s entirely for the first time on LP, CD and Digital. Recorded live for television at CHCH-TV studios in Ontario, Canada in 1983, this is the only known recording of Vaughan and King playing together. Also featured in the line-up are Tony Llorens (piano/organ), Gus Thornton (bass), and Michael Llorens (drums). This deluxe edition has been newly mastered by Joe Tarantino.

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.

The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?

As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.

It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”

Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”

***

In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.

Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.

The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.

Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.

By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.

They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”

Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”

By the same token, they didn’t pursue free improvisation as an ethic, or as a pure process. Their goal was something closer to spontaneous composition. “We were trying to make good songs,” Evans says simply. Later, Trump did brilliant post-production work, expanding a modest setup into an enthralling soundworld. Under his judicious editorship, music that was wholly improvised sounds at times like a carefully composed new-music commission.

The results speak for themselves. “A Happy Death” summons up a swath of American desolation through the viewfinder of Wim Wenders. “Flesh of Lost Summers” and “Partings” are highlights from an essential ECM LP that never was. “A Collapse of Horses” infuses those seminal post-rock influences with the plod of doom metal or slowcore. The album’s final track, “The Mountains Are a Dream That Calls to Me,” was in fact the first thing the duo recorded, as an evocation of those twilit drives across the Blue Ridge Mountains. “Looking back at what we chose to name the songs,” Evans says, “and some of the sounds and how they make me feel, there is an air of impermanence and loss to this album.”

“I’m excited for everything that’s to come,” he adds, “but I recently thought, ‘Damn — that’s not going to happen again.’ It was a privilege for us to have that time together.”

Im Rahmen unserer fortlaufenden Suede 30-Kampagne wird Demon Records die fünfte, sechste, siebte und achte Single von Suede als sammelwürdige 7inch Picture-Single herausbringen. Die sechste Single der Band erschien am 12. September 1994 und war 'We Are The Pigs'. Der erste Song, der vom sensationellen, zweiten Album 'Dog Man Star' veröffentlicht wurde, wurde von The Times kommentiert: "Angetrieben von einer der besten Riff-Akkordfolgen von Bernard Butler und befeuert von den alptraumhaften Visionen von Brett Andersons Text, stürmt der Song mit einem herrlichen Refrain nach Hause, der altmodischen Mitsing-Charakter mit einer faszinierend finsteren Note verbindet." Die Single erreichte Platz 18 in den britischen Charts. Die B-Seite war 'The Killing Of A Flash Boy'. Dieser Song erschien nicht auf dem Album aber zuletzt Hat Sänger Brett Anderson kommentiert, dass er das Lied im Nachhinein in die Titelliste des Albums aufgenommen hätte. 'Dog Man Star' wird zum 30. Jubiläum am 04.10. als Deluxe-LP und CD erscheinen.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.

Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.

Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.

Over 14 days at Henson Recording Studios in Los Angeles, Nikka created Pebble to a Pearl- a quintessential collection of soul, blues, funk & pop infused tracks.

Originally recorded and produced by Justin Stanley (James Lidell, Beck), the album was released on Stax Records in 2008.

This timely Deluxe Anniversary Edition features new feel-good funk track ‘Soulsucka’ and will be released alongside Costa's new album 'Dirty Disco' coming June 2024.

A joint collaboration between long standing L.A garage label In The Red, Universal Music Australia and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of (I’m) Stranded will feature 4 x vinyl long players covering all the band’s studio and live recordings from 1976 thru 1977 and includes; • The iconic debut album remastered for vinyl for the first time in over 40 years • A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time. • A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time • All three tracks from the 1977 This Perfect Day 12” single and all four tracks from the 1977 1-2-3-4 double 7” single • The previously unreleased 1976 demo mix of the full (I’m) Stranded album. In addition to all that vinyl (I’m) Stranded deluxe edition will also features a 28 page 12” x 12” photo essay of the band covering their origins from 1973 through the end of of ’77, authorised band history, an 8” x 10” 1976 promo photo and a (I’m) Stranded sticker.

Deluxe Anniversary Edition. Jade Green Swirl Vinyl. LP+7". - Deluxe Anniversary Edition of LP celebratiing 10 years since it's initial release - Enclosed in hardcover photobook with 96 pages of photos from the era with liner notes from each member of Modern Baseball - Includes exclusive 7" with. It's been ten whole years of us listening to Modern Baseballl's iconic record You're Gonna Miss It All, and to celebrate Run For Cover has teamed with the band to deliver a deluxe anniversary edition worthy of it's legacy. This version of the band's second album is a collector's delight - two discs enclosed in a heavyweight, hardcover 12" x 12" book with 96 pages of photos from longtime collaborator Jess Flynn. Each member of Modern Baseball also contributed notes to provide context to the countless photos taken while touring, recording, skateboarding, napping, swimming and a whole lot more. This deluxe edition also includes two never-before released demos of "Rock Bottom" and "Pothole" pressed on an exclusive 7". These early, intimate versions show how the ideas behind these two favorite tracks progressed into the final takes that made it onto You're Gonna Miss It All. Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums.The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings and mastered by Will Yip, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Exzellente, Karriere umspannende Werkschau zum 80-jährigen Geburtstag des französischen Modern-Jazz-Vertreters Frederic Rabold, der seit Ende der 1960er bis heute aktiv ist, mit Avantgarde-Musikern wie Gunter Hampel, Leszek Zadlo und Lester Bowie arbeitete und neben Albert Mangelsdorff, Klaus Doldinger und Dave Pike auf der Bühne stand. Limitierte Deluxe-Auflage auf schwarzem Bio-Doppelvinyl im Gatefold mit ausführlichen Linernotes (dt. & engl.), bislang ungesehenen Fotos und Download-Code. 17 Tracks.

For a final time, accompanied by her musicians, Cesária’s voice sweeps us away on yet another voyage of nostalgia. Entitled Mãe Carinhosa, meaning “Mother Tenderness”, this was the very last album by the Queen of Morna that was released posthumously. It includes 13 unused tracks, covering a period that goes from the recording sessions of the album Cabo Verde in 1997 to those of Rogamar in 2006.

From 1995 on, each time Cesária Évora went into the studio, her producer José da Silva got her to record more tracks than were needed for a new album. The aim was to choose a set of songs that fitted together naturally and formed a harmonious record that would delight listeners from start to finish - one of the reasons for Cesária’s commercial success. Some of the surplus tracks were left incomplete for technical reasons or because Cesária so decided. A year after her passing, this extra material was used to produce an album of 13 previously unreleased tracks, beginning with a first, unpublished version of the morna “Sentimento”, recorded in 2003.





• 180 GRAM AUDIOPHILE VINYL
• DELUXE SLEEVE WITH GLOSS LAMINATE FINISH
• INCLUDES INSERT WITH LYRICS
• CESÁRIA ÉVORA’S POSTHUMOUS ALBUM
• AVAILABLE ON VINYL FOR THE FIRST TIME
• 10TH ANNIVERSARY EDITION OF 1000
INDIVIDUALLY NUMBERED COPIES ON BLUE
& RED MARBLED VINYL



SIDE A
1. Sentimento
2. Tchon de França
3. Mãe Carinhosa
4. Dor Di Sodade
5. Talvez
6. Dos Palavras

To celebrate its 10th anniversary, Mãe Carinhosa is available on vinyl for the very first time as a limited edition of 1000 individually numbered copies on blue & red marbled vinyl.

Zur Feier des 25-jährigen Jubiläums erscheint der 1999er Klassiker von The Get Up Kids in einer Deluxe-Neuauflage auf silberfarbigem Doppelvinyl im Gatefold samt Download-Code, sorgfältig von den Originalbändern remastert und mit einer Menge Bonusmaterial versehen, darunter seltenen Demoversionen und unveröffentlichten Raritäten. "Something To Write Home About" lieferte mit seiner elektrisierend-kämpferischen Konvergenz von Power Pop, Alternative Rock und Punk die Parameter für die im Mittleren Westen angesiedelte zweite Emo-Welle und wurde zum wichtigen Rock'n'Roll-Dokument des späten Millenniums.

Bobo Integral Records announces the Deluxe Edition of "Dead Calm", the debut album by The Boys With The Perpetual Nervousness, available September 13, 2024. This edition enriches the original tracks (now remastered), which were met with immediate success and critical acclaim, with new material and acoustic demos. Also incorporates an expected insert with all lyrics. Upon its initial release in 2019 by Pretty Olivia Records, "Dead Calm" was celebrated for its melodic craftsmanship. Purepopradio praised it asa "masterpiece of melody and harmony", Powerpopaholic rated it 9/10 and included it in their "best of 2019 list for best power pop this year", and Section 26 recommended it as "Presque indispensable". After two other records, "Songs From Another Life" and "The Third Wave Of_", that are now cult classics in the genre, it's the time to come back to the record that started it all. The Deluxe Edition offers fans an exclusive track from the original sessions, "Wouldn't Be Anywhere Else", and six acoustic demos that provide insight into the band's creative process. Reflecting their musical influences, such as The Byrds, R.E.M., Big Star, The Go-Betweens, Teenage Fanclub and the classic power pop era, the band's sound is a contemporary homage to these inspirations. Andrew Taylor is the leader and soul of Dropkick, a wonderful Scottish power pop group with touches of altcountry. Gonzalo Marcos is part of the cult Spanish indie pop group El Palacio de Linares and founder of the Bobo Integral Records label. The two forged a friendship during Dropkick's first tour of Spain and Dropkick ended up releasing a couple of albums on the label. "The most perfect voice in jangle/power-pop at present (sorry Teenage Fanclub fans!)" - Janglepophub

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

Wildly acclaimed Grammy-winning artist Flume returns with a
new album, ‘Palaces’, on Transgressive Records.

‘Palaces’ began to take shape when Flume returned to his
native Australia after struggling to write music in Los Angeles at
the beginning of the pandemic. Settling in a coastal town in the
Northern Rivers region of New South Wales, Flume quickly
found the inspiration he needed through reconnecting with the
nature around him - the rolling hills, walking around barefoot,
the green colour the sky turns before a big storm, growing and
eating his own vegetables, the smell of rain.

He and his neighbour and long-time collaborator, the visual
artist Jonathan Zawada, became fascinated by the local wildlife,
in particular the birds, collecting field recordings that ultimately
worked their way in to the album. As Flume continued to forge a
strong connection to his surroundings, the album he wanted to
make started to form, eventually adopting a title to properly
highlight the luxury and magic of the natural world.

‘Palaces’ is his most confident, mature and uncompromising
work to date, a true testament to nurturing the relationships that
make us whole and bring us peace.

The album features a host of vocalists and collaborators, its
cast list spanning new and household names from around the
world - breakout US star Caroline Polachek, British polymath
icon Damon Albarn, Spain’s Vergen Maria, France’s Oklou and
fellow Australian Kučka, who returns following her standout turn
on ‘Skin’.

Deluxe CD including two exclusive bonus tracks in 6-panel
heavyweight board digipack with tube pocket and 8-page
booklet. Matte finish on digipak board with glossy spot UV
finish.

CD digipack with poster insert.

Black 180G double vinyl in widespine jacket with full colour
centre labels and digital download card.

Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.

Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!

Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.

Key selling points:

- limited to 500 copies!

- deluxe picture sleeve edition!

- official re-issue, done in cooperation with Glenn Doughty!

- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Die limitierte Deluxe Edition von Archives Vol. III enthält Aufnahmen und Filme, die

die unangekündigte Bandbreite von Young’s Bemühungen aus der Zeit von 1976-1987 zeigen. Es ist eine der umfangreichsten Anthologien in seiner aufgezeichneten Geschichte. Insgesamt sind es 22 Discs, davon 17 CDs in 11 Softpaks und 5 Blu-Rays in 3 Softpaks. Es sind 11 Filme auf Blu-Ray, davon 4 bisher unveröffentlichte. Die insgesamt 198 Musiktitel enthalten 121 bisher unveröffentlichte Live-, Studio-, Mix- oder Schnittversionen und 15 bisher unveröffentlichte Songs, die hier zum ersten Mal überhaupt. 62 Tracks waren bereits auf verschiedenen Aufnahmen erhältlich. Die Blu-Rays enthalten 128 Tracks, über 14 Stunden Film. Die Box enthält außerdem ein 176-seitiges Buch und ein Poster. Mit über 28 Stunden können Sie von New York nach Denver fahren, die ganze Zeit hören und bei Ihrer Ankunft immer noch Stunden übrig haben.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.