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Dickey Betts & Great Southern is the second studio album, originally released in 1977, by Dickey Betts, who is better known as bandmember of The Allman Brothers Band. Amongst others, it features the tracks "Bougainvillea", "Sweet Virginia" and "Nothing You Can Do". Dan Toler, who was also part of The Allman Brothers Band, performs on this album too. The album can be described as an attempt to combine the easy feel of his first album Highway Call with the more blues-driven sound of the Allmans. Dickey Betts & Great Southern is available as a limited edition of 750 numbered copies on blue coloured vinyl and includes an insert.

A collector’s gem at an unbeatable price!

First ever vinyl edition of the acclaimed British
Jazz artist’s debut album.
In January 2020 Downbeat Magazine named Yazz
as one of 25 artists set to shape the future of jazz
over the next decade.
Recipient of the highly prestigious Ivor Novello
Award for Innovation.
Jazz FM ‘Jazz Act of the Year’ 2020
Jazz FM ‘Jazz Album of the Year’ 2020, for her
2019 album, ‘Polyhymnia’.
Has won accolades from The Wire (Jazz Album
Of The Year), Bandcamp (Best albums of 2017,
Best Jazz Album), The Vinyl Factory, Stereogum,
The Guardian, All About Jazz, and many more
publications.
Yazz Ahmed receives regular airplay on Soho
Radio, Deutschlandfunk, Openlab, BBC Radio
2, BBC Radio 3, FBI Radio, FIP, Radio Raheem,
KCRW, Rai Radio 3, Radio 1 (BE), NTS, Worldwide
FM, and many more.
‘The Birth Of The Fool’ amongst Yazz Ahmed’s
most streamed tracks.
‘Conciliation’ features on the soundtrack of Steve
Buscemi’s 2022 film, ‘The Listener

Blue Vinyl

Daniel Higgs vocals , Asa Osborne guitar, Sean Meadows bass, Mitchell Feldstein drums.
The Lungfish band from Baltimore, Maryland performed and released albums on the Dischord Records label for more than 20 years. The group's consciousness alternately/simultaneously coalesced and dispersed creating a continuous quasi-musical pulse, which reached climax at semi-monthly public performances.

Lungfish is now, as it often has been, quasi, if not entirely, defunct. However, after the release of Feral Hymns in 2005, singer Daniel Higgs (who is also an accomplished visual artist) embarked on a solo career, releasing albums on Northern Liberties, Thrill Jockey, and Holy Mountain and showing his artwork both in the States and the United Kingdom. Asa Osborne is currently recording and performing solo material under the name, The Zomes.

"Little Girl Blue, released in 1957, was Nina Simone's first studio recording ever. It was originally issued on the Bethlehem label and features the singer/ pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert ""Tootie"" Heath, one of the celebrated Heath brothers (the other two being saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial version of ""My Baby Just Cares For Me"".

THE COMPLETE ALBUM + 3 BONUS TRACKS - 180-GRAM VIRGIN VINYL -
LIMITED EDITION"

Der große Clint Eastwood begann seine Karriere zunächst als Schauspieler, erlangte aber später mit Filmen wie Unforgiven (1992), für den er den Oscar für die beste Regie und den besten Film erhielt, und Mystic River (2003), weiteres Ansehen als Regisseur. Eastwood ist auch Pianist und Komponist, und seine Vorliebe für Jazz und Blues wird deutlich, wenn man die Musik hört, die er für die Soundtracks mehrerer seiner Filme ausgewählt hat. So verwendete er den berühmten Song "Misty" von Erroll Garner gleich in seinem ersten Film, bei dem er Regie führte, nämlich "Play Misty for Me" (1971). Hier fi nden Sie eine Sammlung von Jazz-, Blues-, Swing- und Country-Klassikern, die im Soundtrack einiger seiner Filme vorkommen.

"The 1958 Miles Davis group wasn't a quintet but a sextet, with the addition of Julian ""Cannonball"" Adderley on alto sax to John Coltrane on tenor sax, Red GaIrTlaEndMoSn piaMnoA, YPaul NChOamTbersBoEn bass, Philly Joe Jones on drums, and Miles on trumpet. Milestones was the first studio album made by the sextet. It was recorded on February 4 and March 4, 1958, and the rhythm section was the same as the classic 1956 quintet.
THE COMPLETE ALBUM – 180-GRAM COLORED RED VINYL - LIMITED EDITION"

On Katelyn Clark and Mitch Renaud's »Ouroboros,« astronomical and astrological phenomena, concepts and symbols such as the Great Year or the Eternal Return serve as the starting points for sonic explorations and experimentations. Focusing on a uniquely tempered range of frequencies, from low-enddrone rumbles to airy pipe swirls, the duo develops a minimalist and highly evocative sonic universe on their debut album for Hallow Ground.

Working as composers, improvisers and curators in Canada's vibrant experimental and early music scenes, Clark and Renaud began developing »Ouroboros« through extensive improvisation with a reduced setup. Clark, who has worked extensively with historical keyboards since her studies in Amsterdam and Siena, played a small pipe organ modeled after a 14th-century instrument while Renaud brought a modular synthesizer and his interest in feedback systems to the collaboration. Later, the duo further refined their artistic dialog and the sonic interactions of the two instruments through the shared space of a two day recording session in Vancouver. Subtle crackling, acoustic beating and other (psycho-)acoustic effects in five pieces document this encounter, giving the music a profound physicality while hinting at the bodily presence of the two collaborators.

Just as the cyclicality of natural phenomena or the repetition of planetary movements is both a scientific fact and of the cultural imaginary, the sound worlds of »Ouroboros« are fundamentally rooted in time and space while transgressing the idea of a »here and now« through their conceptual links to geological and planetary time. The interplay of portative organ and modular synthesizer, which merge fluidly and in ever-changing ways, leads to a kind of circularity, a timelessness, a no-time. At the same time, the movements and subtle changes undermine the idea of repetition in the negative sense. After all, the Eternal Return, as Gilles Deleuze writes in regard to Nietzsche, is not the return of the same but a repetition of repetition. The only constant is change, the production of new intensities, of new forms of life – and of new frequencies.

Some time back just after then and before now, i was approached to work up a rough working script for a Punk Rock film, based on a boys entre into the whole Punk Arena and how it would affect his life. A loosely updated tale somewhere along the lines of a ‘Punk Quadrophenia’.

After many stop / starts and we are waiting for funding… etc, etc... and changing of ideas. I thought I better just get on with it. I worked up twelve tracks and put an opening script together for approval. Like some of the best made plans, as time moved on, so did the theme and the initial rush of enthusiasm rolled on to somewhere else.

A shame but lurking in the back of Punk Art studios the tapes were found and a bent up copy of the working introduction script. So here it is in all its rough and ready glory. Who knows what might have been but here is some of what could have been… hope you enjoy the idea.
Mal-One

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

Doomed Utility is the debut album by Alex Wang, a bass-heavy, noisy, and abstract work that blends industrial and club music into an unsettling soundscape.

Sound existed before there were human ears to hear it—ancient and eternal, as silence itself. In the first few hundred thousand years after our cosmos was born, a deep hum traveled through a plasma of hot particles, eventually finding its way into our machines. Now, computers weave a web of sound around us, abstracting from meaning, pleasure, or melody, crafting disharmonies that dig into us raw.

In Doomed Utility, that primordial hum resurfaces—fractured, raw, and discordant—pulling us into rhythms of exhaustion, exhilaration, and annihilation.

This is a sound that doesn’t merely enter us; it claims us. It lingers, waits—hungry. It tears through cognition and rips through bodies. We may have no obvious use for it, but it has a use for us.

Computer sound perpetuates itself through our ears, our thoughts, and our human culture. It recalls all things, binds all things, moves all things. We are its resources, its vessels for messages not yet decoded, and for purposes yet unknown.

HONKYTONK HOLLYWOOD ist Jon Pardis fünftes Studio Album, das moderne Country-Musik mit traditionellen Honkytonk-Elementen verbindet. Das Album verspricht eine Mischung aus Southern Rock,
klassichen Honkytonk und modernen Einflüssen, die Pardi als authentischen Künstler mit einer Vorliebe für
traditionelle Country-Sounds unterstreichen.
Jon Pardi ist ein US-amerikanischer Country-Sänger und Songwriter. Bekannt wurde er mit Hits wie ”Dirt
on My Boots”, ”Heartache Medication” und ”Head Over Boots”. Er hat mehrere Platin Auszeichnungen
erhalten und gehört zu den führenden Künstlern der heutigen Country-Szene.

Der preisgekrönte Cellist und Komponist Peter Gregson präsentiert sein lang erwartetes, selbstbetiteltes
Album: eine Sammlung von neun zeitgenössischen Songs ohne Worte, die seinen charakteristischen Cellosound und seinen selbstgebauten modularen Synthesizer zur Geltung bringen. Gregson beschreibt das
Album als „das, was dem, was ich in meinem Kopf höre, am nächsten kommt“. Es ist das selbstbewusste
Selbstporträt eines Komponisten und Interpreten, der sich auf dem Höhepunkt seiner Vorstellungskraft
befindet. Während der Aufnahmesitzungen in Peter Gabriels Real World Studios erreichte Gregson seinen
idealen Klang, indem er sein Cello durch seinen selbstgebauten modularen Synthesizer laufen ließ, der es
ihm ermöglichte, jeden Klang, den das Cello erzeugen kann, einschließlich grober Kratzgeräusche und subsonischer Geräusche, für ausdrucksstarke Zwecke zu nutzen. Das Ergebnis ist eine Sammlung von lyrischen,
atmosphärischen Vignetten, die zusammen die endgültige Darstellung von Peter Gregsons künstlerischem
Schaffen bilden.

Cool, sentimental und voller Sehnsucht - dass die Musik von Chet Baker zeitlos ist, beweist ihre ungebrochene, immer wieder neue Popularität. Seine instrumentalen Aufnahmen zählen zu den Klassikern des Jazz,
aber spätestens als Sänger wurde der Trompeter auch zur Pop-Ikone.
Vor 70 Jahren erschien sein berühmtes Album “Chet Baker Sings”, das heute noch Bestseller ist und
dessen Einfluss auch in der Pop-Musik zu spüren ist. Die Macher der erfolgreichen Albumprojekte “Blue
Note Re:imagined” hat das auf eine Idee gebracht.
„Chet Baker Re:Imagined“ ist jetzt das erste Tributealbum, das Chet Bakers musikalisches Erbe feiert.
Junge Künstler der aktuellen akustischen und elektronischen Musikszene kommen auf dem Album zusammen, um ihre Versionen von Baker-Klassikern zu präsentieren.
Viele der auf „Chet Baker Re:Imagined“ vertretenen Musiker und Musikerinnen haben sich auf digitalen
Plattformen bereits ein großes Publikum erarbeitet (20 Million combined audience). Mit diesem Projekt
beweisen sie sich mit mal lässigen, mal melancholischen Tracks als Chet-Baker-Fans. Die internationale
Bandbreite geht von UK (dodie, Matt Maltese Matilda Mann, Joel Culpepper, Ife Ogunjobi vom Ezra Collective, Hohnen Ford, Eloise, Puma Blue), über USA (Delaney Bailey, mxmtoon), Kanada (Stacey Ryan),
die Niederlande (Benny Sings) und Australien (grentperez) bis hin zu Südkorea (Sara Kang)

Gerald Clayton kehrt mit seinem dritten Blue Note-Album zurück, seinem bislang ungewöhnlichsten Werk.
Auf „Ones & Twos“ spielt Clayton nicht nur Klavier, sondern auch Rhodes, Orgel, Kinderklavier und Synthesizer, seine Kompositionen sind zugleich abstrakt und eingängig, schillernd und groovy, akustisch und
elektrisiert.
„‘Ones & Twos‘ ist von der DJ-Kunst des Schallplatten-Auflegens inspiriert“, sagt Clayton. „Mir schwebte
ein Album vor, bei der die A-Seite gleichzeitig mit der B-Seite abgespielt werden kann.“ Die Erstveröffentlichung von „Ones & Twos“ besteht wie üblich aus Einzeltracks, später dieses Jahr wird Gerald Clayton
in einem zweiten Schritt die überlagerten Tracks veröffentlichen.