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- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

Martin Scorsese’s Motion Picture "Goodfellas" needs little introduction. It is widely regarded as one of the greatest films ever made, and the ultimate mob movie. The soundtrack features artists Tony Bennett, Aretha Franklin, The Shangri-las and many more. It is a very rare find on vinyl, having only being pressed in a couple of small runs in the early 1990s. This 1LP release will be the first global pressing and will be available on blue vinyl.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Working his mellow magic on the Growing Bin, Sorcerer entertains your inner child with eight tracks of instrumental west coast pop suitable for dancing, dreaming and surfing a wave or two.
While Basso sat in a Teutonic treehouse, feeding his head with the sounds of the woodland, Dan Judd danced on the sands of San Francisco's Baker Beach. Stretching between them, like the world's longest tin can radio, was the Dream Chimney. This legendary forum, run by Ryan Bishop, better known as The Beat Broker, helped to launch a thousand labels, and the Growing Bin is one of them - all hail the Chim!
Here, Dan, naturally mystic in his Sorcerer guise, satisfies all our sensory needs with a Kinder Surprise of sweet melodies, coastal cool and playful rhythms inspired by his children's earliest responses to music. Following his feelings and avoiding overthinking, he creates open, enticing and accessible cuts; each living and breathing that mellow magic you only get on the West Coast.
'Kids World' kicks into gear with the spheric bass of '2000 Studio', a bouncy embodiment of that spacious San Francisco sound. There's a nod to nu disco but the dreamy dubiness takes the track much deeper, especially as those surf guitars start to detune in the summer heat. The breezy fretwork continues on 'Disco Drums', topping a wriggling groove tailor made for the terrace. Shades of rave refract through a healing crystal at the midpoint, encouraging al fresco dancing from sunrise to sunset. The A3 sees Sorcerer get into the groove of 'Bahia Brothers', rolling that rubberised B-line out of his own Paradise Garage before putting the top down for the carefree Balearic pop of 'Spray Paint.'
The B-side glides into being via the night dubbing grooves of 'Fire Feel', a reverb laden journey though glassy tones, off beat perx and gorgeous chord progressions. Next up, the new wave inspired 'Crunchy' translates Sheffield's daring synth pop into a wide eyed blast of psychedelic house, boosting our mana ahead of the loose limbed and light footed 'First Wave'. Ringing guitars reference Ghanaian highlife, shimmering in the heat haze as Dan funks up the drum kit ready for the broken beat and blissed out energy of sundowning set closer 'Escape Route'.

• Although the album was produced by David Tickle, Belinda’s sole album for the Chrysalis label in 1996
saw her re-united with the writers of her biggest chart successes, Rick Nowels, Ellen Shipley and fellow
Go-Go Charlotte Caffey. Nowels’ “In Too Deep” reached # 6 and Roxette’s Per Gessle’s “Always
Breaking My Heart” was another Top 10 hit. “Love In The Key Of C” followed them into the charts,
while the fourth hit “California” features backing vocals from none other than Brian Wilson.
• The two bonus LPs feature seventeen tracks: non-album B-sides, including covers of “Jealous Guy” and
“The Ballad Of Lucy Jordan”, plus “I Won’t Say I’m In Love” – Belinda’s contribution to the soundtrack
of the Disney film “Hercules”, a cover of the Sex Pistols’ “Submission” recorded with Radiator for a
compilation album, plus live and acoustic versions of her earlier hits, and three very rare remixes.
• This anniversary box set contains three LPs pressed on 180g vinyl, in individual outer and inner sleeves,
plus a 12 x 12 booklet, all in a lift-off lid box.


















r d1. Remember September JPO Club Pipes
[s] d2. Remember September [Beam’s Club Mix]
[t] d3. Remember September [Beam’s Vocal Mix]
[u] e1. Big Scary Animal [live]
[v] e2. I Get Weak [live]
[w] e3. Leave A Light On [live]
[x] e4. Live Your Life Be Free [live]
[y] f1. In Too Deep [live]
[live]
[xa] f3. In Too Deep [acoustic live version]
[xb] f4. Circle In The Sand [acoustic live version]

Produced by and featuring Aesop Rock. “I wrote half of these songs when my energy was either headed in the wrong direction or already there. I wrote the other half while my energy was moving in a direction I’m more excited about, that I find to be more enriching. They’re all still my songs though. My mother, and lots of my relatives, used to call me “Angelito.” Little Angel. The taijitu is the symbol for yin and yang. Opposites that make a whole. Given the dualistic/duelistic nature of the songs on the record, put it all together and what do you get, Anjelitu.” - Homeboy Sandman

• Although the album was produced by David Tickle, Belinda’s sole album for the Chrysalis label in 1996
saw her re-united with the writers of her biggest chart successes, Rick Nowels, Ellen Shipley and fellow
Go-Go Charlotte Caffey. Nowels’ “In Too Deep” reached # 6 and Roxette’s Per Gessle’s “Always
Breaking My Heart” was another Top 10 hit. “Love In The Key Of C” followed them into the charts,
while the fourth hit “California” features backing vocals from none other than Brian Wilson.
• The two bonus LPs feature seventeen tracks: non-album B-sides, including covers of “Jealous Guy” and
“The Ballad Of Lucy Jordan”, plus “I Won’t Say I’m In Love” – Belinda’s contribution to the soundtrack
of the Disney film “Hercules”, a cover of the Sex Pistols’ “Submission” recorded with Radiator for a
compilation album, plus live and acoustic versions of her earlier hits, and three very rare remixes.
• This anniversary box set contains three LPs pressed on 180g vinyl, in individual outer and inner sleeves,
plus a 12 x 12 booklet, all in a lift-off lid box.


















r d1. Remember September JPO Club Pipes
s d2. Remember September [Beam’s Club Mix]
[t] d3. Remember September [Beam’s Vocal Mix]
[u] e1. Big Scary Animal [live]
[v] e2. I Get Weak [live]
[w] e3. Leave A Light On [live]
[x] e4. Live Your Life Be Free [live]
[y] f1. In Too Deep [live]
[live]
[xa] f3. In Too Deep [acoustic live version]
[xb] f4. Circle In The Sand [acoustic live version]

Repress

Techno is getting harder again and Maximum Minimum 061 ups the game with 2 killer trax from Christ On A Bike (D.A.V.E.The Drummer and Tiago Santos), a track from label boss Chris Liberator with Geezer, The Dice and Mickey Rat, and a track from French duo Alienduch & Gelstat - all giant dancefloor tracks that will fit both Acid Techno and Techno sets.

Bouquet Records features Olive T. for their sixth EP release on vinyl to infuse their 2021 roster with the desired verve and energy that dormant club kids are thirsting for.

Releasing in early summer, the energetic dance tracks herald a return to the dance floor, uplifted by soul-stirring synthesiser orchestral strings.
The native New Yorker and scene fixture was influenced by 90's house, inspired by Raze, Deee-lite, Green Velvet, and smooth disco flows.
The ascension sensation of 'Goin' Up' builds on familiar house grooves with digital synths and a thoughtful utilisation of today's technology.

Known to play a range spanning hip hop to club, jazz to funk, disco to garage, and more, Olive T has DJ'd countless venues and over international airwaves.
An early exposure to house and techno, combined with a wide span of diverse musical taste, shaped her unique style. In 2020 she started her own 2 hour radio show on The Lot Radio.

Olive T worked with Tiro! due to her admiration of his use of traditional sounds of the 90's era, sensing he also listened prolifically to 90's house and techno. Tiro!'s remix of 'This Is A Bop' adds organic flare to the original.
A long-time fan of Matt Karmil, she invited him to remix 'Opaque' - He flips the track upside down to reveal a different, but still vibrant interpretation, with his technical approach to remixing.

Olive T has released singles and remixes on Nervous records, 2MR, and on her own. The four track record 'Goin' Up' marks Olive T's first label-released EP, and first release on San Diego-based Bouquet Records.

#1 debuts for the digital single in US, Germany, Israel and France +7 million
streams on the video in the first three weeks of release Massive buzz on social
media including +5,000 creations on Tiktok, top trending on YouTube and Instagram Shazam chart activity in San Francisco, Costa Rica, Netherlands, Romania
Instrumental version exclusive to vinyl 12-inch release
The single is setting up the debut album from Spice “Ten” coming this summer!

After the release of ‘Kuarahy’ concurred with the blast of the worldwide pandemic and all the consequences it has generated, WHITE STONES - Martín Mendez’s project (OPETH’s bass player) - are ready to launch their second record.

When WHITE STONES released ‘Kuarahy’ they became the first Spanish band signed to Nuclear Blast Records, cementing their first album as an unprecedented milestone. Now, with ‘Dancing Into Oblivion’, the band returns with a more compact sound, having been hard at work ensuring the utmost attention to every detail for a result that is even better than the first record.

The topics covered on this second album draw on the feelings that Martín himself affirms he has lived through during the lockdown imposed by the covid-19 pandemic. “I started it very calmed in March when »Kuarahy« was released and the lockdown started. I wrote the new record and it just flowed so well. It’s my point of view, of the feelings I had during the lockdown period, in this weird year. I took advantage of the moment and I feel excited about it”, reveals the musician.

The most outstanding musical elements on this new record are the disparate genres that manage to co-exist. There is an element of aggression, that can be seen rearing its head in an instrumental frenzy, as well as soft and delicate intricacies that develop an atmosphere which surrounds the listener. There are distinct dynamics among the songs, with interludes allowing the listening to take a breath and appreciate what they’re hearing.

The writing process of ‘Dancing Into Oblivion’ has been pretty similar to the previous ‘Kuarahy’ but with some clear changes. Martín composed all of the instrumentals for the album but, as he says, “I’ve left sections open to the interpretation of each of the other musicians, both in the drums and in the vocals. Eloi wrote the lyrics this time and we then workshopped them together whilst working out the vocal parts to get the final result in the studio”.

WHITE STONES once again recorded at Farm Of Sounds Studios (Barcelona), owned by their singer Eloi. They were satisfied with the sound of ‘Kuarahy’ and the experience of the recording of that album and the comfort of making everything with their own tools made it all easier. “Everything has been ‘homemade’ because it’s a way of working and a philosophy I like. You have more control and you can better enforce your ideas”, Méndez explains -who also created the cover for ‘Dancing Into Oblivion’ together with Sandra, his partner for many years.

The final mix and mastering of this second album was done by Jaime Gómez Arellano at Orgone Studios (UK) because the band were more than satisfied with the work he did on ‘Kuarahy’ and they wanted to repeat that great experience. Eloi, as the singer and also the guy who recorded the music sent to Orgone Studios, acknowledges “the recording had more experience and a better sound quality because we made better decisions during the pre-production thanks to a higher level of self-awareness of ourselves as a band. Jaime knew us better too, so that simplified the process and in turn helped to make »Dancing Into Oblivion« as good as it can be”.

The line-up has been enhanced with the participation of the multifaceted Joan Carles Marí Tur on drums (who also plays in other bands like FACE THE MAYBE). The guitar solos were the job of Joao Sassetti (who was already a member of the touring line-up of WHITE STONES). Sassetti lives in Portugal and he couldn’t be in the studio in Barcelona, so he recorded his solos and digitally sent them over for integration into the final songs. The recording of the instruments has been more organic and as Boucherie says. “The original sound has been retained as much as posible in each and every element” and it has brought a natural/raw touch for ‘Dancing Into Oblivion’ just as the band had hoped and expected.

We are pleased to share the first collaborative album by Alexander Berg (Dorisburg) and Sebastian Mullaert (Wa Wu We).

As Jorum, they invite us into a fable where murky soils awaken beneath the moonlit forest dew. Currents begin to rush softly through tentacles reaching far down into the earth. Bones, buried by the sands of time, come slowly back to life along with the slumbering bloodwood woods.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo solo release ('Wood', with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, 'The Locomotive Suite', a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigrée Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass.

Claude Huey was a we coast soul singer who after leaving the army sang with Jesse “Ozz” Osborne & The Sperlings. As a solo artist he recorded a number of sides in the late 60s including the highly acclaimed and sought after “Why Would You Blow It”.
It was produced by “Ozz” who became a chief engineer at Fantasy Records and went on to work with Lenny Williams, The Debonaires, Freddie Hubbard and an array of soul and jazz artists.
“Why Would You Blow It” became popular on the UK’s Northern Soul Scene, originals of this record becoming rare and expensive to purchase.

WALES WALLACE – was riding high in the Billboard Hot 100, as part of the Chicago group The Steelers, when he signed to Brunswick Records in 1969. The group had hit with “Get It From The Bottom” but Wallace fancied a solo career. He recorded three discs for Brunswick subsidiary’s Bashie, Dakar and in 1972 he launched the BRC label with “Somebody I Know”. This fabulous slice of Chicago crossover soul was produced by Eugene Record and has soared in demand in recent years.
WALTER JACKSON – signed to Columbia in 1962 and released a slue of records, initially on the parent label, and then its subsidiaries Okeh and Epic including “Where Have All The Flowers Gone” and the awesome “It’s An Uphill Climb To The Bottom”. After label hops to Cotillion, USA and Wand, Jackson found himself at Brunswick in 1973 where, later that year, he released the amazing “Let Me Come Back”. This rare, crossover-delight, was written by the legendary Jeff Perry and produced by Carl Davis and Sonny Sanders, add to that Walter’s supreme vocals and you have one of the finest Chicago mid-temo recordings of the early Seventies.

Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow.

Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music.

‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

As a prominent R&B/Soul singer, songwriter, and producer In the realms of House Music, Angela has established a well-respected career collaborating and penning songs for some of the most notable DJs and producers in the industry: Roger Sanchez, Reel People, Dave Lee & the Sunburst Band, Josh Milan, DJ Spinna, Micky More & Andy Tee to name a few. In 2020, Johnson placed fourth on Traxsource’s “Top Vocalists of 2020,” an honor that Angela does not take lightly. Her successful collaboration with OPOLOPO on the remake of The Brand New Heavies classic, “Stay This Way” has opened more doors for Ms. Johnson. With this boost, she’s ready to take things to the next level whether it’s another vocal feature or a self-produced release. The title song Inclusion, which was also written, produced, and performed by Angela Johnson; caught the attention of prolific producer, Grammy wining-one and only Brian Bacchus. Brian brought the song to Joaquin Joe Claussell and the rest is history… There are many great things that we would love to share about what became of this the powerful collaboration, but we will let the music speak on it for itself. Music Always! Purpose Music Group Soul feast Productions Sacred Rhythm Music & Cosmic Arts

Horse Meat Disco deliver the latest single from their acclaimed debut album ‘Love & Dancing’, this time made in collaboration with NYC group The Phenomenal Handclap Band. ‘Sanctuary’ sees the quartet at their disco dancefloor-ready best, as The Phenomenal Handclap Band provide a dose of deliciously cool nonchalance. Fuelled by hefty analogue muscle, funky guitar riffs, 70s synthesizers and glowy vocals ‘Sanctuary’ makes for an irresistible modern disco number. Ray Mang makes an appropriate remixer for the package, his amalgamative style of boogie, disco, dub and house a perfect fit for Horse Meat Disco and The Phenomenal Handclap Band’s collaboration, providing both a remix and Dubstrumental for the package. ‘Sanctuary’ is an unmissable release for any modern day, discerning disco listener that you’ll want to hear again and again.

The new school meets the old school. Riding those crystal-clear waves off the back of their standout EP for WOLF Music, New Zealand duo Manuel Darquart double down with this 10-inch remix package containing a classic reworking from the master of dream house, Don Carlos and a sleazed up street soul workout from themselves.

No introduction is needed when you see Don Carlos’ name in the mix. A legend of the Italian dream house movement that has influenced so much of what we’ve heard since, not least the productions of the Manuel Darquart guys. A dream (house) matchup some might say.

Step one, Carlos sprinkles his magic on ‘Keep It DXy’ switching up the drum programming and adding those Balearic flurries that add a considered dose of dreaminess to whatever he touches, think summery sweeping strings and echoing synth stabs.

On the flip the Manuel D guys go full sleaze, weak at the knees for their ‘Sleazy Sunday Mix’. Imagine a street soul, Balearic lovechild and you’re on the right track. Start suppin’ a margarita and you’re getting closer. Sun-lounger on the sand, Adriatic in front of you, last night’s euphoria still a buzz in the brain and you’ve hit the spot.