Search:1979

Recorded in the 1980's and snapped up upon arrival in Europe by the Soho Boho's, Acid Jazzuals,Cuboppers, Jazz Massivists and Mojo Jazzmuziker, "Le-Le" by The Arpeggio Jazz Ensemble is a unique one off Spiritual Soul-Jazz outing with Avant Garde touches and more than a hint of Afro-Cuban Orientalism.

The percussion drenched title track has that special Worldwide Sound and the Cool Jazz Get Down Groove of "Wet Walnuts and Whipped Cream" is a DJ's delight, whether played over the Airwaves or to a crowded Dancefloor.

An adventurous jazz outfit that has been playing around Philadelphia since its formation in 1979. The Ensemble was founded by Warren Oree, an acoustic bassist, producer and composer who continues to lead the band. Eclectic and far from predictable, on this album the Ensemble has embraced a variety of acoustic and electric jazz styles combining them with African and Middle Eastern influences and mixed together with the "New Thing" have managed to make a timeless underground classic.

Just a Man, Beres Hammond’s 1979 album, is a hidden gem in his illustrious career, celebrated for its heartfelt lyrics and smooth melodies, hallmarks of Hammond's signature style. This album offers a rare glimpse of Hammond before he became the lover’s rock icon we know today. Blending R&B, disco, soul reggae, and lovers rock, Just a Man showcases his soulful voice against the backdrop of disco-infused reggae rhythms, creating an irresistible vibe.
At this pivotal moment in his career, Hammond had just left the band Zap Pow to focus on his solo work, and Just a Man was a bold statement of independence. It reflects Hammond’s early musical journey, combining elements of R&B and disco with reggae, and marks a key moment in his rise as a solo artist.
Produced by Joe Gibbs, a legendary figure in reggae, and arranged by Willie Lindo, the album features some of Jamaica’s most esteemed musicians: Val Douglas & Mike Chung on bass; Mike Richards, Robert Stephenson & Calvin McKenzie on drums; Robert Lyn, Franklyn Waul& Harold Butler on electric piano; Lenox Gordon, Willie Lindo on guitar; Pam Hall, Prilly Hamilton, Sharon Forrester & Beres Hammond on backing vocals; Waul, Clive Hunt & Noel Seale on percussions; Hunt, Franklyn Waul & Harold Butler on piano; Dean Fraser on saxophone; Peter Ashbourne Group as string ensemble; Jerome Francque & Roland Robinson on trombone; David Madden, Willie Brackenridge & Clive Hunt on trumpet.
The album’s standout track, “Do This World A Favour,” became a UK soul hit, but the entire album features rare and funky gems like "Keep My Wheel Turning" that reflect Hammond's versatility and ability to transcend genres.
Our exclusive edition has been remastered, delivering superior sound quality that enhances the richness of every note.
This edition is published under the direction of Joseph Barthelet for Jamwax, under license from Gavin D.A. Gibson.
Just a Man is more than just an album; it’s a significant piece of jamaican music history.

Iconic UK punk band X-Ray Spex co-founder Lora Logic was unexpectedly ousted before the recording of their debut album 'Germ Free Adolescents' in 1977. Undeterred, Lora went on to form and front the post-punk band Essential Logic. With trademark angular sax lines and her unmistakable vocal stylings, she went on to create some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. 'Beat Rhythm News (Waddle Ya Play?)' is the band's debut studio album. Originally released in December 1979 on the Rough Trade Records label, whose founder Geoff Travis provided enthusiastic encouragement. The album reached number 11 in the UK Indie chart. Lora's solo album 'Pedigree Charm' followed in 1982. Lora and Poly Styrene would later reform X-Ray Spex for the band's sophomore and final studio album 'Conscious Consumer' in 1995. Essential Logic returned from an extended hiatus in 2022 with the 5 x LP boxset 'Logically Yours', including the new studio album 'Land of Kali', co-produced by Lora and Youth (Killing Joke), followed by 2024's remix album thereof - 'Rekalibrated', which enlisted the talents of an ambitious and diverse set, including Grammy Award winner - Dave Audé, Rave-pop legend - Adamski and Scottish Kandy-poppers - bis, amongst others on remixer duties. This 45th Anniversary 'Deluxe' edition compiles the original studio album together with a bonus album containing the complete Essential Logic studio recordings from 1978 - 1983, including the iconic Cells Records debut single 'Aerosol Burns' (1978), the 'Wake Up' EP (1979), included here for the first time on any physical release since its original pressing, together with the non-album b-side 'Flora Force' and 3 post album Rough Trade Records single releases: 'Eugene' (1980), 1981's 'Music Is A Better Noise' and 'Fanfare In The Garden', and their respective b-sides. Repackaged in a high gloss accented, spot varnished sleeve, on 2 x black and white splatter vinyl, foiler stickered, with inner-sleeves including full lyrics and new sleeve notes by Lora. This release also marks the long overdue and highly championed CD debut of the original album and bonus tracks. Following their recent UK tour with fellow punk legends Penetration, featuring Pauline Murray, in November 2024, Essential Logic show no signs of stopping or slowing down as they plan extensive live celebrations of the album throughout 2025 as well as the recording and release of their next studio album. Press Quotes : "Lora's voice is always doing the right, thrilling things...she frets and somersaults in such an intoxicating way" - NME // "A stunning record that remains a benchmark of the punk era" - AllMusic // "Beat Rhythm News suggests an impromptu brainstorming session between Kate Bush, Talking Heads and Captain Beefheart" - Louder Sound // "An intelligent and fluid benchmark for any band willing to dabble in both punk and dance music at the same time" - PopMatters

Magazine, eine der einflussreichsten Post-Punk-Bands, legt ihre Alben erstmals auf farbigem Vinyl neu auf, inklusive bisher ungesehener Bilder und neuer Notizen der Bandmitglieder. 'No Thyself' wurde nach einer 30-jährigen Pause veröffentlicht. Dieses Comeback-Album kehrte zu Magazines markantem Art-Rock-Stil zurück und verbindet introspektive Texte mit einer modernen, aber vertrauten Post-Punk-Energie.

Mutant, in partnership with Hollywood Records and 20th Century Studios, is proud to present the premiere physical release of Benjamin Wallfisch’s score to ALIEN: ROMULUS.

It is hard to overstate just how successful, on every level, ALIEN: ROMULUS and its score are at returning longtime fans to the world Ridley Scott, Dan O'Bannon, Jerry Goldsmith (and so many other brilliant artists) created back in 1979. But spend just a few minutes with Benjamin Wallfisch's masterful score, and you can feel the attention to detail in the craft of every choice.

Doing the impossible task of bridging the gap between sequels and prequels, Wallfisch takes the dissonant, atonal and truly horrifying soundscapes that Goldsmith defined the genre with and makes peace with the melodies and monsters of subsequent films - all while making his own voice heard throughout, creating a truly remarkable piece of film music.

This limited edition physical release features liner notes by director Fede Álvarez and original artwork by illustrator Kilian Eng, continuing his ongoing ALIEN soundtrack series and is pressed on 2x 140gm black vinyl.

M_Sessions - Reworks is offering a contemporary version of Mania D., Malaria and Matador’s music for the 40th anniversary. Bringing the past into the now and into the future.
Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations. The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm. (G.Gut)

"The three, reunited: Malaria, Matador and Mania D, unter einem Dach, but gutted, replaced with electronic hearts, new beats, new beasts, the time has changed, yet the politics, the problems, the heartache remains the same. 2021 sees the anniversary of the 3 M’s and therewith the production of an album of songs, covering a selection of the bands’ finest output, this time assembled by a new set of feminist misfits; producers, fangirls, instrumentalists, under the strict guidance of original members Gudrun Gut and Beate Bartel. M-Sessions features: AGF, Lucrecia Dalt, Sonae, Midori Hirano, Islaja, Natalie Beridze, Pilocka Krach, Annika Henderson (Anika), Lupe, Gudrun Gut and Beate Bartel. Beginning in West Berlin, in 1979, with the inception of Mania D, spawning Malaria! and later Matador; in a time when music was essential to movement, to escape, to space, to the scene and to the rebellion of the people; three bands stood for trial and error, trial and terror, anti- conformity, and anti-consumerism, for girl power and sticking it to the man, and for just doing whatever the hell they wanted. The three, their existence slightly staggered, with different members, different grudges, different heartbreaks, different instrumental expressions, were joined by a string of barbed wire, piecing pigeon hearts, within the playground that was the desolate ex-capital, now again capital, Berlin; a place where artists and freaks could run free amongst the wrinklies and army dodgers; no microscopes, no rules, no property developers." (ANNIKA HENDERSON)

Mit ihren unberechenbaren Live-Auftritten und Songs wie "Zurück zum Beton" und "Industriemädchen" sorgten S.Y.P.H. Ende der 70er für Furore - als eine der Bands, die rund um Düsseldorfs Ratinger Hof begannen, deutschsprachig zu texten. Die Band brach von Beginn an mit genre-konformistischen Erwartungshaltungen und machte Musik, die sich bei Rock, Punk und Kraut genauso bediente wie bei der Zügellosigkeit des Dadaismus und der Realität des Tagesgeschehens. S.Y.P.H. entstand 1977 in Solingen und begann im nahen Düsseldorf Konzerte zu spielen. Anfangs deutlich am Punk angelehnt, entwickelte sich der Sound der Band schnell weiter und wurde zusehends schwerer einzuordnen. In intensiven Jahren entstanden Produktionen, bei denen immer wieder Gäste aus der Düsseldorfer Szene um den Ratinger Hof mitwirkten, aber auch Holger Czukay von der international bekannten experimentellen Rock-Band CAN, mit dem sie zwei Alben aufnahmen. Zunächst wird die erste Schaffensphase der Jahre 1977 bis 1982 aufbereitet. Die "Pure Freude Singles" inkl bisher unveröffentlichter Songs und das selbstbetitelte Album "SY.P.H". Drei weitere Wiederveröffentlichungen, zwei davon produziert von CANs Holger Czukay, folgen in 2025. Pure Freude Singles Eine Sammlung der frühen Singles: Vier Titel - darunter auch "Industriemädchen" und "Europa" - erschienen ursprünglich 1979 auf der EP "Viel Feind, viel Ehr". Dreizehn weitere Tracks - u.a. "Falsche Freunde" und "Knudelblues II" - wurden in 1982 veröffentlicht als "Der Bauer im Parkdeck". Drei weitere Songs sind bisher unveröffentlicht.

Ultimo Tango (Milan) & Glossy Mistakes (Madrid) are thrilled to announce the release of "Tribal Organic: Deep Dive into European Percussions 79-90", a compilation of otherworldly percussion-driven tracks, digging deep into this unknown realm of a past era.


Compiled by Luca Fiore and Glossy Mario, the album takes listeners on a rhythmic journey through the diverse sounds of Europe from 1979 to 1990. This collaboration between two like-minded labels highlights forgotten recordings from across Europe, including works by artists from France, Spain, Germany, Italy, Austria, the Netherlands...
Opening with the ethereal “Rainforest” by British female duo Ova, this collection weaves together nine tracks from artists who were deeply influenced by global percussion traditions. With hints of jazz, new age, gamelan, and West African rhythms, these tracks feature instruments like congas, tablas, and shekeres, and reflect a shared fascination with the organic beat of the drum.
From the industrial-meets-African grooves of Jean-Michel Bertrand’s “Engines”, to the hypnotic accordion and tribal chants of Cuco Pérez’s “Calabó Bambú”, the compilation offers a cross-cultural listening experience that is both meditative and invigorating. Despite creating these works in isolation during the last years of the Cold War, each artist was inspired by a borderless world of sound. The compilation pays homage to these nomadic musicians who respected the traditions they drew from, while contributing their own experimental takes on percussion-led music.
In Tribal Organic, Glossy Mario and Luca Fiore have unearthed a treasure trove of rhythm-driven tracks that blur the lines between nations, genres, and cultures. This compilation offers more than just music; it’s a listening experience that is both spiritual and grounded—bold, exploratory, and deeply rooted in the beat of the Earth

"Mystic Man," released in 1979 is now available on 1LP Green Recycled, is an introspective and spiritually charged album by Peter Tosh. The album reflects his deep Rastafarian beliefs and features a mix of soulful and political tracks. Songs like "Mystic Man" and "Jah Seh No" highlight Tosh's commitment to his faith and his disdain for societal corruption. The album's production is marked by a refined sound that balances roots reggae with subtle experimentation.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Originally released in 1979, Sei Note In Logica (Six Notes In Logic) is Cacciapaglia's second album. While his debut, Sonanze, offers a series of ambient mini-soundtracks, Sei Note presents a singular, sinuous piece. The composition is based on a finite set of musical notes, yet this limitation is the point of departure for a grand tour of possible combinations and enthralling timbres (marimbas, strings, reeds and human voice).

Like Steve Reich's Music For 18 Musicians, the joyous experiment of Sei Note is grounded in constant variation. Often doubled by multiple instruments, non-repeating patterns are exquisitely layered, while electro-acoustic signals transform and further refract through visceral effects. Within this conceptual framework, Cacciapaglia does not so much juxtapose rigid dichotomies – acoustic vs. electronic, melodic vs. dissonant, simple vs. complex – as fuse them into an expansive whole.

What started as an inspired study in Minimalism becomes a bold feat of 20th century music. Sei Note In Logica is deeply sincere and, at the same time, quite playful. With one foot firmly planted in the past and the other steeped in technology, Cacciapaglia's influence can be heard in the work of Jim O'Rourke, Fennesz and Ben Vida.

Repress of this Christmas classic, 300 copies on snowy WHITE vinyl! "At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? ...you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we'd guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the overinflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it's for LIFE!" - Ian Damaged, National Elf

"From the ashes of Linköping’s pioneering punk band, Tings of London, IQ 55 emerged onto the scene in 1978. Their compelling performances quickly made them the most sought-after band in their hometown. In 1979, IQ 55 recorded their first and only single, ”Livet Är En Bluff (Balladen)/ Bara Svårigheter,” in Gothenburg. Following their contribution to the compilation album Arnes Korvbar and numerous attempts to attract record labels, the band disbanded in October 1983. Now, for the first time, the full-length album ”Livet Är En Bluff” containing IQ 55’s timeless, original, and raw sound is here."

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

Mastered for vinyl by Welcome to 1979. Pressed at Palimino Records. Dan Reeder's 2006 record on vinyl for the first time.

Dass in den späten 60ern und frühen 70ern des vergangenen Jahrhunderts sich in der deutschen Popmusik extrem viel bewegte und viel Neues entstand, pfeifen die Spatzen mittlerweile vom Dach. Zahllose Bücher sind bereits zum Thema 'Krautrock" erschienen, und viele LPs aus dem genannten Zeitraum sind wiederveröffentlicht worden. Günter Schickert hat in den 70ern nur zwei LPs veröffentlicht: "Überfällig" (Sky Records, 1979 / Bureau B, 2012) und "Samtvogel" (Brain, 1976). Exakt 50 Jahre nach Erscheinen der LP kommt der "Samtvogel" nun zurückgeflogen. Günter Schickert benutzte für "Samtvogel" ausschließlich Gitarren, Echogeräte und eine bescheidene Aufnahmetechnik. Das Album ist eine waschechte DIY-Produktion - in jeder Hinsicht radikal und dem damaligen Zeitgeist überhaupt nicht verpflichtet Diese Radikalität war es vielleicht, die es schwierig machte, ein geeignetes Plattenlabel für eine Veröffentlichung zu interessieren. Jedenfalls brachte Schickert "Samtvogel" 1974 zunächst einmal in einer Auflage von 500 Stück selbst heraus. Erst zwei Jahre später erschien das Album in einer weitaus höheren Auflage auf Brain. "Samtvogel" ist ein besonders wichtiges Album, weil es deutlich macht, was musikalisch in den 70ern alles möglich war Kein Zweifel: Das Album ist extrem, obwohl es musikalisch und spieltechnisch von hoher Qualität ist. Aber es entspricht eben keinem der damaligen krautigen Trends; und das ist wohl auch der Grund, weshalb es im kommerziellen Sinn nie erfolgreich war. Günter Schickert war mit seinen beiden, damals zu Unrecht unterbewerteten Alben "Samtvogel" und "Überfällig" im Gesamtkonzert der experimentellen deutschen Popmusik der 70er Jahre eine bemerkenswerte Ausnahmeerscheinung. "Samtvogel" war ein Wagnis, das zwar gelang, aber vielleicht erst heute, 50 Jahre nach seiner Erstveröffentlichung so richtig geschätzt werden kann. Asmus Tietchens, 2024

Dass in den späten 60ern und frühen 70ern des vergangenen Jahrhunderts sich in der deutschen Popmusik extrem viel bewegte und viel Neues entstand, pfeifen die Spatzen mittlerweile vom Dach. Zahllose Bücher sind bereits zum Thema 'Krautrock" erschienen, und viele LPs aus dem genannten Zeitraum sind wiederveröffentlicht worden. Günter Schickert hat in den 70ern nur zwei LPs veröffentlicht: "Überfällig" (Sky Records, 1979 / Bureau B, 2012) und "Samtvogel" (Brain, 1976). Exakt 50 Jahre nach Erscheinen der LP kommt der "Samtvogel" nun zurückgeflogen. Günter Schickert benutzte für "Samtvogel" ausschließlich Gitarren, Echogeräte und eine bescheidene Aufnahmetechnik. Das Album ist eine waschechte DIY-Produktion - in jeder Hinsicht radikal und dem damaligen Zeitgeist überhaupt nicht verpflichtet Diese Radikalität war es vielleicht, die es schwierig machte, ein geeignetes Plattenlabel für eine Veröffentlichung zu interessieren. Jedenfalls brachte Schickert "Samtvogel" 1974 zunächst einmal in einer Auflage von 500 Stück selbst heraus. Erst zwei Jahre später erschien das Album in einer weitaus höheren Auflage auf Brain. "Samtvogel" ist ein besonders wichtiges Album, weil es deutlich macht, was musikalisch in den 70ern alles möglich war Kein Zweifel: Das Album ist extrem, obwohl es musikalisch und spieltechnisch von hoher Qualität ist. Aber es entspricht eben keinem der damaligen krautigen Trends; und das ist wohl auch der Grund, weshalb es im kommerziellen Sinn nie erfolgreich war. Günter Schickert war mit seinen beiden, damals zu Unrecht unterbewerteten Alben "Samtvogel" und "Überfällig" im Gesamtkonzert der experimentellen deutschen Popmusik der 70er Jahre eine bemerkenswerte Ausnahmeerscheinung. "Samtvogel" war ein Wagnis, das zwar gelang, aber vielleicht erst heute, 50 Jahre nach seiner Erstveröffentlichung so richtig geschätzt werden kann. Asmus Tietchens, 2024

After more than a decade of lighting up Australia's soul scene and stages across the country, Fulton Street is all grown up with the release of their sophomore album 'Hard Truths' – and they aren't holding back. Raw and real, 'Hard Truths' is forthright funk that shoots straight from the heart.

Made with great reverence to the roots of funk and soul, 'Hard Truths' is made up of 11 songs recorded directly to tape. Produced and mixed by Fulton Street's very own Jamie Stroud, the album was recorded with Alex Bennett from Sound Recordings in Castlemaine and is a tribute to the rawness of analogue recording, resulting in a sound that makes you feel like you are right there in the room.

From their Uni days, Fulton Street has retained a truly vibrant sound that has only grown into a lion's roar. Recorded and produced to perfection, 'Hard Truths' is a record for retro music lovers who are looking to hear something true.

Fulton Street has lit up festival stages across Australia's biggest events, as well as continuously selling out feature shows. They have enthralled crowds at Moomba Festival, Tasmanian Wine Festival, Caloundra Music Festival, Boogie Festival, Brunswick Music Festival, St Kilda Festival, Melbourne Music Week, Stonnington Jazz Festival, as well as Bluesfest sideshow support slots.

Coming to full form in Melbourne's most iconic and sweatiest soul venues, Fulton Street is regularly featured nationally on the stations where the true music aficionados live: PBS, Triple R and Triple J.

Robert Gordon entered New York City’s Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon–twelve years Presley’s junior–was high atop many lists. Gordon’s vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York’s vibrant punk scene. In late 1978, Gordon was signed to Presley’s longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon’s 1980 cover of John Beveridge and Peter Oakman’s “A Picture of You,” a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: “Lonesome Train (On a Lonesome Track),” “Summertime Blues,” and “Red Cadillac and a Black Moustache.

1979 recordings, produced by Dennis Brown and mixed by King Tubby