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Repress!

Reissue on LP of the only album by this Jamaican reggae duo active between 1977 and 1979, mostly known for the number one hit 'Uptown Top Ranking'. Originally released in 1978.

Six Nine Records Ltd. UK proudly presents Angie Gooden’s first release on the label with the two stunning tunes “All Day Long” and the amazing T-Groove remix of “Feelin’ Kinda Funky”, both of them new, fresh and making their premiere on to wax! Both tracks have been produced by Christopher Vignoli (Zapp ChrisFunk) and just oozes with that French fingerspitzengefühl, nothing but exquisite sounds from the first to the last beat.

The song writers consists of Magoo and Yuki “T-Groove” Takahashi togheter with Angie herself and all this combined makes this one a winner for sure.
In summary - modern and funky boogie at its best, these two tracks will definitely make this summer even hotter!

In ihrer dritten Inkarnation schlägt die Berliner Supertruppe Berlin Diskret um Don Lotze, Asphalt Tiger und The Artist Formerly Known As Metal Warrior mit der neuen Frontfrau Elli ein neues Kapitel auf. Asphalt Tiger hat die Hälfte der souverän-schnoddrigen Texte spendiert und als Neuköllner Szenegröße hat Elli zudem ein hinreißend ruppiges Mundwerk, das auf den 14 exzellenten Songs von "Erinnere Dich" ebenso ein lyrisches Highlight nach dem anderen liefert, bei denen nahezu jeder und alles sein Fett wegkriegt. Messerscharfe Gitarrenlicks treffen auf herrlich wummernde Bassläufe, knackige Schießbuden-Action, geil nölige Backingvocals und immer wieder köstlich angerichtete Überraschungen in Form von Synthie, Mundharmonika, Schellenkranz und charmant zweckentfremdeten, nicht ganz unbekannten New Wave Riffs. Kombos wie Östro 430, Hans-A-Plast, Bärchen & Die Milchbubies, frühe Abwärts, ganz frühe Cure lassen Berlin Diskret liebevoll um jede Ecke lugen und schütteln derweil mit "Erinnere Dich" ganz locker ihr bezauberndes drittes und gleichzeitig bestes Album aus dem Ärmel.

What’s It Gonna Take? ist der Nachfolger von Van Morrisons Veröffentlichung aus dem Jahr 2021 - dem 28-Track-Doppelalbum Latest Record Project, Vol. 1 - und ist ein weiterer Beweis für die reiche kreative Ader, auf der sich einer der größten Künstler der Welt derzeit befindet.

What’s It Gonna Take? enthält fünfzehn neue Kompositionen von Van Morrison, die allesamt den unermüdlichen Drang des Künstlers widerspiegeln, Aufnahmen zu machen und live vor Publikum aufzutreten. Van Morrison ist eines der wahren Originale der Musik - absolut einzigartig und inspirierend mit einem Vermächtnis, das die letzten sieben Jahrzehnte umspannt. Der 1945 in Belfast geborene und von Blues, Country und Gospel inspirierte Musiker gründete 1964 die äußerst erfolgreiche R&B-Band Them, bevor er sich als Solokünstler in andere Gefilde begab. Als einer der produktivsten Plattenkünstler und fleißigsten Live-Performer seiner Zeit hat Van Morrison einen unvergleichlichen Katalog von Veröffentlichungen
geschaffen, der sich mühelos durch seine unzähligen Einflüsse bewegt, darunter visionäre Straßenpoesie, Jazz, Swing, Skiffle und keltische Wurzeln, und einige der beliebtesten Songs des 20. Jahrhunderts. Außerdem ist es ihm gelungen, sowohl auf der Bühne als auch im Studio eine Arbeitsmoral zu bewahren, die jüngere Künstler beschämen würde. What’s It Gonna Take? ist das 43. Studioalbum von Van Morrison.

What’s It Gonna Take? ist der Nachfolger von Van Morrisons Veröffentlichung aus dem Jahr 2021 - dem 28-Track-Doppelalbum Latest Record Project, Vol. 1 - und ist ein weiterer Beweis für die reiche kreative Ader, auf der sich einer der größten Künstler der Welt derzeit befindet.

What’s It Gonna Take? enthält fünfzehn neue Kompositionen von Van Morrison, die allesamt den unermüdlichen Drang des Künstlers widerspiegeln, Aufnahmen zu machen und live vor Publikum aufzutreten. Van Morrison ist eines der wahren Originale der Musik - absolut einzigartig und inspirierend mit einem Vermächtnis, das die letzten sieben Jahrzehnte umspannt. Der 1945 in Belfast geborene und von Blues, Country und Gospel inspirierte Musiker gründete 1964 die äußerst erfolgreiche R&B-Band Them, bevor er sich als Solokünstler in andere Gefilde begab. Als einer der produktivsten Plattenkünstler und fleißigsten Live-Performer seiner Zeit hat Van Morrison einen unvergleichlichen Katalog von Veröffentlichungen
geschaffen, der sich mühelos durch seine unzähligen Einflüsse bewegt, darunter visionäre Straßenpoesie, Jazz, Swing, Skiffle und keltische Wurzeln, und einige der beliebtesten Songs des 20. Jahrhunderts. Außerdem ist es ihm gelungen, sowohl auf der Bühne als auch im Studio eine Arbeitsmoral zu bewahren, die jüngere Künstler beschämen würde. What’s It Gonna Take? ist das 43. Studioalbum von Van Morrison.

Die Düsseldorfer Frauen-Punkband Östro 430 wurde Ende 1979 gegründet. Östro 430 spielte erstmals im Mai 1980 auf dem Festival des Punkfanzines SCHMIER in Neuss, wo sie von der Band Fehlfarben entdeckt und als Vorgruppe für deren Deutschland-Tournee engagiert wurden. Auf einem dieser Konzerte war auch Lothar Rieger, der das Schallmauer-Label gründete und im Herbst 1980 drei Songs auf dem Schallmauer-Sampler veröffentlichte. 1981 folgte dann die erste EP Durch dick & dünn mit insgesamt 8 Songs, darunter u.a. ihr wohl bekanntester Titel Sexueller Notstand. Überhaupt waren Sex, überholte Ansichten (besonders gegen Frauen) und Spießigkeit oft vertretene Themen in den Songs von Östro 430. Auffällig war auch die Instrumentierung, die aus Gesang, Bass, Schlagzeug, E-Piano und Saxophon bestand - E-Gitarren hingegen wurden gänzlich vernachlässigt bzw. einfach nicht benötigt. Im Frühjahr 1983 erschien das erste "richtige" Album "Weiber wie wir", weitere Veröffentlichungen kamen jedoch nicht mehr zustande. Im Mai 1984 gab Östro 430 noch ein Abschiedskonzert in Düsseldorf und löste sich auf.

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

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

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


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

The Undertones formed in Derry, Northern Ireland, in 1975 and released their fourth album ‘The Sin Of Pride’ in 1983 which peaked at #43 in the UK Album Charts.

The Sin of Pride was by far the most exploratory album the Undertones ever issued. For their fourth album, the band injected more post-punk dance into their growing soul sound and so the album is looser and more focused on mood and groove than their previous titles.

The record still offers some classic tracks from the Northern Irelanders, including ‘’Got To Have You Back", "Chain of Love" and fan favourite "The Love Parade’’.

Covers such as Leon Ware's "Got to Have You Back," which opens the LP, and Smokey Robinson's "Save Me," which closes it, are bookends for a moving blend of funky, driving, deeply textured psychedelic soul music that makes pearls of tracks such as "Untouchable".

This reissue is an exact replica of the original release and has been pressed on plum colour vinyl for the first time.

Duke Pearson’s 1967 album The Right Touch is perhaps the finest of his career and a showcase for the breadth of his talents as a pianist, composer, and arranger. Six memorable Pearson original are performed by a dynamic 8-piece band including Freddie Hubbard, Stanley Turrentine, and James Spaulding.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Four more lively, lovely electro offerings from Plant 43, the second in a limited edition series of EPs focussed on tracks written over the course of the winter of 2022/23. Opener 'Submolecular Shifting' is bright and bubbly, joining the dots between Kraftwerk and Model 500, while 'Eccentric Elliptical Orbit' follows on slower and more grandiose, echoing early New Order's icy cool synth sounds. 'Encased' has a more otherworldly Aphex-like feel, although the juddering, on-off bass keeps it plugged into the dancefloor. 'The Forgotten Storm' closes proceedings, more low key again and graced with ethereal, adding angelic choirs. Energised enough and streamlined enough to be good dancefloor gear, but expertly executed and, as ever, brimming with enough personality to be a decent home listen as well.

Acclaimed producer, songwriter, and vocalist Shafiq Husayn has been a vital force on the Los Angeles music scene for decades. A member of trendsetting trio Sa-Ra Creative Partners, Shafiq has produced tracks for a staggering spectrum of talent, including Erykah Badu, Ty Dolla $ign, Pharoahe Monch, Robert Glasper, Ice T, Bilal, Jurassic 5, and many more. Over the last few years, the Grammy winner has also become the leader of The Dove Society, an expansive L.A. musical collective. Now, Shafiq Husayn and The Dove Society are debuting the new album So Gold, an eclectic masterpiece emerging from sessions Shafiq describes as “pure love, magic, inspiration!” A worthy follow-up to Shafiq’s acclaimed 2018 opus The Loop, the album features contributions from Anderson .Paak, Syd (of The Internet), Peyton, Thurz, Jimetta Rose, Speed Walton, and many more. Bursting with the kinetic energy of vibrant creative collaboration, the album synthesizes disparate styles into a cohesive tapestry of lush cosmic soul. “It’s new age everything and above,” Shafiq explains. “Focused and direct in the songwriting and production, but still adventurous and refreshing.

Brazilia Maravilha... A real wonder of selected Brazilian tunes.
You will feel the mood and breeze like you were over there!

28 songs including some great classics as "Lamento" by Nelson Riddle, "Mas Que Nada" by Elza Soares, "Groovy Samba" by Cannonball Adderley and "So Nice (Samba De Verao) by Sérgio Mendes as well as more unique ones.

Kindly remastered tracks from master tapes to keep the dusty roots of the original sound. Double vinyl in a balanced mix of vocals, instrumentals, bossa nova and some jazzy beats tunes.

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.

High Roller Records, reissue 2023, bone/ red splatter vinyl, ltd 300, insert, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Lewis Taylor's legendary magnum opus: The Lost Album. "Now you're talking. That's my favourite LT album. Unlike all of the others, there isn't anything about it that embarrasses me." Straight from the genius's mouth. What can we say about this? Well, it's the most requested record ever at Be With Towers. The Lost Album was the intended follow-up to his first album but Island rejected it for fear of "confusing" the marketplace and its conception of Lewis as a soul artist. Their loss. It's a breezy sunset masterpiece.

The genesis of this incredible record needs unpicking a bit. Lewis stopped promoting the first album after a year and went home to record a completely different record that was the most un-R&B album you could probably ever hear: "I pushed in such an extreme direction the other way with what eventually became The Lost Album. It was a knee-jerk reaction to a perceived ‘trapped in R&B’ feeling I was going through at the time. Some people around me were in favour of it and others weren’t. In the end I think I lost confidence in it and did Lewis II instead." We did at least get Lewis II, which is a remarkable album, and he kept Island happy...for a bit. Not long after, Lewis was dropped. And what was to become The Lost Album could've been...er...lost. Forever.

Thankfully, however, Lewis and longtime partner Sabina Smyth revisited those scrapped demo tracks in 2003. They decided to re-arrange, re-record and then self-release them. So it was that the brand new version of The Lost Album finally dropped in late 2004. It's sheer perfection, and we don't say that lightly. The Lost Album was a fully 50/50 collaboration between Lewis and Smyth. As well as production, Sabina did a lot more writing on it, from the melody to "Listen Here" to the chord sequence for "Let's Hope Nobody Finds Us." Thankfully, Sabina is credited this time around.

No, it's not straight up "soul music" in the vein of his previous work. Yet, in its perfectly formed suite of one dozen songs, The Lost Album is dripping in soul. It's so warm, so effervescent and so alive with possibilities. It features deep, fresh imprints on well-loved, accessible sounds. It's a proper 70s style double album. Just one listen and the musical influences on The Lost Album are fairly self-explanatory, as Lewis recently told us, but it's always nice to hear that, in case we were in any doubt, he was definitely channeling Love, Yes, Brian Wilson, CSN, Laura Nyro and, of course, Todd Rundgren. The influences don't end there: "I’m particularly fond of my bass playing on that album, there’s a lot of Chris Squire going on which is cool."

Deep orchestral opener "Lost" is a sublime, harp-laced, string drenched gem, a cinematic, melancholic Axelrod-esque mini-epic that simply beguiles. Written by Smyth, it evokes Donny Hathaway's celestial "I Love The Lord, He Heard My Cry" from Extensions Of A Man. The only problem is the brief 90 seconds running time. It segues into the classic Brian Wilson-meets-power-pop-rock splendour of "Listen Here" which, with its outstanding extended harp-licked beatless intro, sounds like the younger cousin to Boston's "More Than A Feeling". We then drift into the ringing guitars of classic 70s rock anthem "Hide Your Heart Away". It's Lewis's personal favourite, "especially the multi-tracked guitar solo – I was listening to Boston at the time, which was fun." A-ha!

A new version of the heart-stopping, shoulda-been-a-massive-pop-hit "Send Me An Angel" opens Side B before the arrival of, in Lewis's completely correct words, "the clear standout, "Leader of the Band"; the perfect distillation of everything that album was trying to achieve." Soaring, piano-led Rundgren-esque power pop that makes the hairs on the back of your next stand on end. Truly, otherworldly. This is pure pop for now (and then) people. The simple jangly brilliance meets experimental prog-rock of "Yeah" sounds like simultaneously like prime CSNY and late 90s Radiohead (if they'd had a slightly more accessible bent and could write better tunes).

Oh, you wish The Beach Boys had continued writing amazing songs beyond Holland? Well, allow us to point you in the direction of the downlifting stunner "Please Help Me If You Can" and the warm textures and brilliant atmospherics of goosebump-inducer "Let’s Hope Nobody Finds Us". Words can't really describe the sheer beauty of these songs. So we'll stop trying. Just listen. Listen, listen, listen. Closing out this remarkable side of music, the accidentally Balearic "New Morning" should be blasting out at every sunrise set in Ibiza, this summer and forevermore.

The final side opens with the vaguely Beatlesey "Say I Love You". It's just classic, soaring pop-rock songwriting and should strictly be canonical. It's that good. The sassy, Stonesy swagger of "See My Way" injects enough rock'n'roll attitude to compensate for the rest of record's peace-loving, AOR sun-dappled vibe whilst album closer, "One More Mystery", emerging out of the rubble of the previous track, comes on initially like a Baroque-Pop George Harrison before piling crunching drums and screeching guitar solos atop the dreamy harmonies til close.

When asked what it means to have these records available on vinyl for the first time, Lewis is in no doubt: "It’s great and it’s really nice to be able to offer fans a different listening experience. There’s a whole other dimension with vinyl that taps into that whole nostalgia thing, well for me anyway. Something about the physical aspect of pulling it out of the sleeve and putting it on, it does tend to make you feel like you’re more engaged."

Lewis was adamant that he wanted all new artwork for The Lost Album vinyl sleeve and his brief was just the sort of classic tropical-beach-at-sunset you’d want to see on the front of a record that sounds like this. On the finished sleeve, the beach at sunset is just where we start out, before heading up through the painterly clouds and heading out into the stars. And yes, the lettering is a definite subtle nod to all those in-between-period Beach Boys bootlegs we all love. Simon Francis's sensitive mastering combines with Cicely Balston's precise cut for Alchemy at AIR Studios so the album sounds appropriately outstanding. The immaculate Record Industry double LP pressing will ensure this previously lost masterpiece stays forever found.

2023 Repress in Classic Soul:r House Sleeve