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Thandi Zulu known as T.Z. Junior was a young girl from Soweto. She started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.

Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genres of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming.

"Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk. 'Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,' he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka.

The Moments' On Top is a perfect example of symphonic soul. Amongst true heads, this is considered the most valuable of all their albums; an original copy of this LP, if you can find one, starts at around $75. Alongside contemporaneous acts from the early 70s - The Chi-lites, The Stylistics, The Delfonics, The Futures, Blue Magic and The Main Ingredient - The Moments exuded all that was compelling about deep, harmony-drenched, string-laden soul. The standout here is undoubtedly 'To You with Love", a floating, tender ballad sung by Harry Ray that features the group's patented handclap-tambourine combo, sweetly repetitive strings, serene guitar and gentle piano. It was famously sampled by J Dilla for 'Last Donut Of The Night' - the gut-wrenching finale to his seminal Donuts. Concentrating solely on its sampled history would do The Moments a huge disservice, but its crucial appearance at the climax of Donuts directed fresh generations of pre-disposed soul fans to the absolute canon. Judged entirely on its merit, it's one of the most heart-breaking songs of any decade and worth the price of admission alone. It's the sweetest, most goose-bump inducing 3 minutes of aural bliss you're ever likely to be exposed to. If that wasn't enough, On Top spawned two minor R&B hits: 'All I Have' and 'Lucky Me", each featuring Billy Brown's ice-melting falsetto. Opener 'All I Have' is a sumptuous introduction to the album. With melancholic, understated guitar licks, twinkling keys and heartbeat drums, it's a gem.

larry Jon Wilson He Can Break Your Heart With A Voice Like A Cannonball.' - Kris Kristofferson. Larry Jon Wilson Came To The Party Late. When He Arrived In Nashville, Country Soul Pioneer Tony Joe White Had Already Made Six Albums. Townes Van Zandt Had Made Seven, Mickey Newbury Eight. Kristofferson, The Accepted High Priest Of The New Nashville, Had Made Five. Larry Jon, By The Time He Arrived, Had Spent Ten Years In Corporate America. He Did Not Start Playing Guitar Until The Age Of 30, But Five Years Later He Released His Debut, New Beginnings (1975) And Followed It Just A Year Later With Let Me Sing My Song To You, Both On Monument Records. A Revelation Among The Hipsters And Critics Of Nashville, The Lps Ensured Larry Jon Was Immediately Embraced As Part Of The Mid-70s outlaw Country Movement' That Eschewed Slick Production In Favour Of A Raw, Gritty Approach. When A Film Crew Came To Document This Burgeoning Sound, They Made Straight For Larry Jon's Door. The Legendary Heartworn Highways (1981) Featured His Mesmerising Performance Of ohoopee River Bottomland', A Boogaloo Funk Monster. He Was A Singer And Writer Of Intensely Private, Painfully Moving Tales Of Southern Life. With His Deep, Papa-bear Voice, Funky Southern Groove, And Richly Evocative Narratives Of Rural Georgia, Larry Jon Was A Unique Stylist But His Gutsy, Greasy Sound Did Not Translate Into Sales.

Standard black double vinyl format of the album. Marketing activity to Xmas.

Rise black - Agressor EP Moustache Records 038 delivers us 5 tracks from the dark side of Spain! The first is named: "Black snake" this is a dark pumping electro track with 808 snares topped off with some evil voices and other trippy scapes.The A2 track: "Jack in the box" is where the true mental madness starts, a drum minimal groove electrobass track that could go on forever and ever till the loony house. On the flip side B1 "Sulfrico" deadly acid electro for the retards. B2 Mythos is the sound from Sparta Greece 100 v.c. Distorted kicks and snare drums that could deliver you a bloodnose. The last EP track is the title track of the EP called: "Agressor" this song is a story about the sheeps of Satan, very raw noisy percussion drum sounds, space bleebs and other aggressive electro sounds. Let the magic and madness begin... Welcome to the Moustache Records family. Rise Black is rising..

This song has been a long time coming, but finally I am very proud to release this collaboration between myself, the mighty DJ Spinna (BBE, Rawkus), and Manchester's own Neo Soul songstress, Fyza. Originally we recorded it back in 2008, but this song never got released. The masters were lost in a multiple hard drive failure at my studio. Many years went by until recently I found an old drive which contained the original recording session from 2008. I contacted Vincent and Fyza and we decided to release the original version on a 7 inch vinyl, and to add a few new remixes for a digital package. Including one from Fyza's Son, Shontay. I hope you enjoy what we created. One love. Zed Bias

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Thom Yorke is soundtracks Luca Guadagnino's reimagining of the 1977 Dario Argento horror flick, the
soundtrack is a mix of score work, interludes and songs featuring Thom singing.

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

Debut single from the mighty Tim Maia! Released upon his return from the USA in the late 60's. Highly sought after and prized in its original form, we are very proud to reissue this record.
Maia sings in English here - influenced by his time spend travelling and working in the USA. Both songs are very soulful, reminiscent of the great soul singers of 1960's USA, who were clearly a powerful inspiration to him. Official Mr Bongo reissue. Licensed from Som Livre.

Nirosta Steel is a sometime alias of Steven Hall. Musician and survivor of the `80s NYC`s art melting pot. Everybody Sing dances like Steven`s long-term collaborator and lost-way-too-early friend, Arthur Russell. As he forced irresistible, idiosyncratic, Disco-Not-Disco, out of the Ingram Brothers. Riding low rumbling bass. Phased guitar, country picking, flickering in and out of the mix. Strings, choir boy falsetto, and blue yodel, cutting through its delay-drenched, dance floor delirium.

L.A.`s Cole Medina delivers two reworks. His Heavy Disco take is intro`d by cowbell and synth swirls. Cymbals crashing like sampled surf. With Stratocaster microtones, and echoes of the original, washing over an electronically, re-imagined B-line and trip-py sequences.

Cole`s Knuckles Tribute sets poignant piano and gated orchestral euphoria against a classic Def Mix groove. Revealing the song in epiphany. Clarifying the lyric`s call for unity. Where singing your troubles away is a analogy for strength in adversity. Everybody hurts sometimes. In that, we are united. Eventually heading towards its own disorientating climax. Comin` at ya from all sides.

Mind Fair`s version goes in for some tribal thumping. Stripping the track down, before building it back up. Its big kick blowing bins like a hyped heart pumping within a giant's chest. Chicken scratches dropping in between its colossal 'lub dub', and Coati Mundi-meets-Jah Wobble-like Punk Funk..

* 13 tracks featuring the likes of DRS, Serum, Riya, Cleveland Watikiss, Lorna King, L-Side, MC Fats, T.R.A.C and Sofi Mari.and many more.

* Colourful, effervescent, and energetic, the Brazilian drum & bass scene has given us some of the most distinctive production voices in the game. Including São Paulo's Level 2 and DJ Chap or, as they're known collectively, Alibi.

* 'In each of the songs, we expressed our feelings and each song carries a unique message. The album itself talks about life. We all go through times where we fall and get hurt. Then we get up and we recycle. In every single situation: we learn.' - Alibi

* Alibi signed exclusively to V Recordings at the end of 2015, and this LP shares the characteristics held dearly by both the duo and the label. Weaving together threads from the duo's shared funk, soul, reggae, and hip-hop influences with the drum 'n' bass tutelage of shared heroes like S.P.Y., Calibre, D-Bridge and the late Marcus Intalex, this is set to be the most complete statement of their musical vision so far.

* Each track from the album stands as an example of their impeccable production, starting with 'Debris' which is filled with cinematic textures and a sub-low reese typical to their sound. The album plays home to a handful of other lighter atmospheric pieces, including 'Recycle', 'Destiny', and 3 other tracks with Riya, Cleveland Watkiss and Lorna King, all gracing the booth with their vocals. The duo can effortlessly skip between sub-genres, shown by the tracks on the LP that would be more suited in a dark club at 5am, such as 'Smash Through The City' with Serum, L-Side & T.R.A.C., as well as the floor shaking 'Scuffed' - there's a style to cater to everybody.

* With V Recordings celebrating their 25th anniversary, there really is no better time for Alibi to cement themselves as one of the crown jewels of the label and the scene as a whole.

It is with great honour that Emotional Rescue comes back to the music of Jaki Whitren & John Cartwright for a special 7" of two previously unreleased songs on to vinyl for the first time in That Will Be That and This Time. Originally part of the International Times reissue project (ERC004) in 2013, the songs have previously only been available on CD and digital formats as 'out-takes'. However, all that time the plan was to release the songs as a stand-alone vinyl release at some point.
Discussion with John continued over the years and the plan was for a release as part of the label's fifth anniversary, until sadly the project was put on hold due to the untimely loss of both Jaki and John in late 2016. The recent repress of their masterpiece that is their privately pressed album, International Times, led to these songs being revisited for the first time since and so here at last are both available together, as much in homage to these two wonderful musicians. More than studio-plus recordings, That Will Be That actually appeared in rerecorded form on the couple's Rhythm Hymn album of 1983. Here though is the original (and superior) version, with all the hallmarks of classic Whitren and Cartwright song writing craft, musicianship and production skill. Again remastered by their son (and at the time, teenage drummer) Joby Baker, the song drips with a confidence of masters of their instruments, full heartfelt, righteous and as relevant today as then lyrics, all backed with some deep white funk and enough soul to move mountains. This is accompanied by one of their greatest compositions in the spine-tingling This Time. Only ever known on this live recording from Glastonbury Hall, Jaki's vocals and light accompaniment from John's keys let the song shine. If the sheer power of her voice and words don't move you, then something is missing in life. A pure, sad, joyous way to thank and remember this wonderful music and people.

Eglo Records are proud to present the second official solo album by the forward facing producer and vocalist Steve Spacek. The album, entitled 'Natural Sci-Fi' originally began production in 2005, shortly after the release of the now classic 'Spaceshift' album (which included the J-Dilla collaboration 'Dollar'), but was never completed. Over the last few years Steve has added a some tweaks and changes - including a new song and guests vocalists Oddisee and Natalie Slade - eventually finalising the project and readying it for its release in 2018. The album continues the post Spaceshift vibration of Steve's signature production style and effortless vocal delivery. Swinging spaciuosly from past to present, packed with soul, sounding as fresh and relevant today as it did when it began back in 2005.
Since the albums inception Steve has released projects with Mark Pritchard as one half of Africa Hitech on Warp, an instrumental LP as Black Pocket for his brother D-Bridge's Exit Records and a concept LP as Beat Spacek for Ninja Tune. Following a string of EP releases for Eglo over the last two years we are thrilled to finally be able to bring to you a full length release from one of the UK's most unique and talented artists.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

Since its original release in 1958 this classic Christmas album from Elvis Presley has sold more than 15 million copies! His third full length album, Elvis' Christmas Album, was recorded in Hollywood, and includes the Lieber and Stoller classic "Santa Claus Is Back in Town" as well as several gospel songs and Christmas standards. Perfect gift for this holiday season.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Last February, We Had The Delightful Surprise To See Dominique Dalcan On The Victoires De La Musique Stage (main French Musical Award). The Elegant Singer Received The Award For The Best Electronic Album For His Project Temperance, An Album In English Full Of Reliefs, Dense And Splendid. We Are Delighted To See Today That Dominique Publishes A Second Volume Of Temperance. The First Albums Of Dominique Dalcan Came Out In The Early 90's, Especially On The Belgian Label Crammed Discs. He Is Considered One Of The Ambassadors Of The New French Pop, Combining Electronic And Orchestral Arrangements. At The Same Time, Under The Name Of Snooze, He Immerses Himself In Electronic Music And Creates Soundtracks For Cinema And Contemporary Art. In 2013, He Switched To The English Language And Adopted A New Artistic Identity: Temperance.

The Project Moves Away Freely From The Format Of The Song To Dive Into A Vast Electronic Palette. In Temperance 2, We Hear Contemporary R & B Ballads Full Of Artificial Strings, Collisions Of Textures, Even Balinese Sounds But Nothing That Never Steals The Show With Dominique's Voice And Lyrics. The Temperance Repertoire Addresses The Confusion Of The Human World And A Wild Nature. There Is Also A Question Of Fusional Love With Pop And Soul Songs. This Gives An Album That Rushes Against Each Other Joy, Fury, Despair, Desire Or Pleasure, Without Them Ever Contradicting Each Other, And That Moderates With Art And Temperance, In Short.

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen's prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep 'Clouds' - (all tracks included here.).
Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl 'Teletrip' is an excellent taster of his many talents and a real body of work.

'Liebe Tanzen' is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high-pitched soulful voice repeating 'Take My Love' and you have the mood of a modern soul track supported by the balearic brigade. 'Dipping Into You' is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy's Own track played in a barn just when the Sunrise appears.
One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single 'Whisper To the Wind' a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
'Nevesomost' - a cinematic, melancholic acidic journey that was inspired by the old USSR Sci Fi movie 'Moscow - Cassiopeya' where a group of children was sent to Mars. 'Monotone' recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. 'Clouds' is first class ambience feat the Siberian multi-instrumentalist Sergi

Kampanella playing the Mandolla. The title track 'Teletrip' is tv samples mixed with 80 ties new wave drum machines. 'Priceless' is a downtempo documentary live recording Aleceo did with his American native friend Kita. 'Dome' full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome of God - the place of peace and happiness and makes you wanna sit by the seaside.

'Know Him' is inspired by gospel from the Mississippi church. 'Mzi' wouldn't sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/40ties voices.

Bonus is the inclusion of Kenneth Bager's reprise of 'Dome'.

The album 'Teletrip' by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

By the late seventies Nigerians were increasingly drawn to reggae. It was regarded as a more spiritual and contemplative type of music. When the bright lights and cheap thrills of the dance floor waned, reggae provided life with a deeper meaning. And it didn't come any deeper than 'We Shall Win' by Pogo Limited. Pogo Limited were a Beninese 'super' band, made up of performers from the popular Nigerian Television Authority program, 'Music Panorama'. Emma Ogosi, future superstar and household name, was on rhythm guitar. Robo Arigo was on bass. Pat 'Finn' Okonjo, former frontman of The Hykkers, provided lead vocals. 'We Shall Win' was their first album and a clarion call for change. 'Together' envisages a time when everyone enjoys the riches of Africa. 'Switch Your Lights On' bathes in the purest kind of love and in 'Something Must Be Done', the dream is a long, happy life with great grandchildren. The album's brightest moment, the upbeat 'We Shall Win', takes heart from change in southern Africa. Ironically, it was adopted by the Nigerian ruling party in 1983 as their theme song in what was widely regarded as a massively rigged election. Focussed, deep and contemplative, 'We Shall Win' is a thoughtful alternative to the bright lights of the Lagos dance floor, an album where exceptional musicianship combines with a meaningful lyrics to provide hope in a desperate world. It is an album as relevant today as it was back then.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

'Snakedressed' is the fourth studio album by most active Dirk Ivens's incarnation. It was released in 1997 by Daft Records and had once again the collaboration of Ivan Iusco of Minus Habens Records and Nightmare Lodge fame. A well produced and arranged work with the usual noise infused, yet dance oriented tracks full of harsh bass lines overlayed with intricately woven and noisy synth patches. An album that catapulted Dive as a cult act and one of the strongest influences for lot of artists. For the first time available on vinyl record with all original tracks plus some extras from 1996 including songs from the split EP's with Kirlian Camera and Controlled Bleeding and a couple of tracks from the compilation '2/3' (Hands Productions).

The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original 'Rashida' 7' e.p., that contained four of Lucien's tracks, now split into two 7's for a louder, more refined pressing of each song.

First up, 'Lady Love', with it's bossa nova inspired style, drawing every last drop of emotion from Lucien's infamously voluptuous voice. Once dubbed by Herbie Hancock as 'the man with the golden throat', it's easy to see why - Lucien's rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.

On the B side - 'Love Everlasting', another of Jon Lucien's bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien's beautifully calming tones.

With the original Rashida 7' exchanging hands for over £150 on Discogs, here's a chance to get Jon Lucien's golden-throated voice in the collection without raiding the savings.

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.

Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.

Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.

Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.

As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.

With a string of resonating releases and progressively improvised live-shows, ANNANAN have been expanding and refining their stylistic range across gritty Acid psychedelia, explosive, dark-waving Electro and a raw blend of Techno and House that is as fierce as it is fragile. The duo's first album on their own imprint MACHINE JAZZ does take all of this into account - and yet it's crucially different to everything else they've put out so far. - You' is a captivating electronic pop adventure, an experimental amalgam aligning Anne Ghost's polymorphic lead vocals with Tom Aaron's vast and versatile analogue productions in unexpected ways. Dominated by reduced rhythms and a carefully crafted melodic shape, the result of this dialogic fusion are irresistible, forceful songs that draw from diverse contemporary and traditional sources: you'll even hear Trap fragments, an R&B trained voice, reminiscences of the Knife as well as cinematic synth excursions. While exhibiting a broad set of moods, claims and longings, the LP attains emotive poignancy from beginning to end through its bold openness. Annanan's first album is stripped down, immediate and full of surprises - but don't you worry, there's no lack in bang either!










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Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:

· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.

· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.

· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.

· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.

· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott

· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.

As she continues to make UK chart history with her 7th #1 single 'I'll Be There', Jess Glynne announces her glittering new album 'Always In Between'.
It's been 3 years since the release of Jess Glynne's momentous debut album 'I Cry When I Laugh'. Selling over 2 million copies worldwide and including a mass of smash hit singles including 'Hold My Hand', 'Take My Home' and 'Don't Be So Hard On Yourself', it consolidated Jess as one of the most important British popstars and a formidable songwriter.
Celebrated for her intimate yet universally appealing themes, Jess has connected with millions of people across the globe - demonstrating her peerless ability to tell the truths young women want to hear; about the loves that build them up and let them down; the aspirations and dreams that might turn sour but you'll smile through them anyway. These themes are passionately continued in 'Always In Between'.
'Always In Between' finds Jess on a breath-taking journey of self-acceptance as she comes to terms with her new-found fame, heartbreak and the well-known pressure of writing a second album. The result is a triumph that captures the heart of what being a 28-year old woman in 2018 can feel like - trying to balance real life with everything that you want it to be. With a tone of joyful harmony and acceptance set by 'I'll Be There' already, Thursday (co-written with Ed Sheeran), explores our many insecurities and the idea that sometimes stripping everything back can make you feel most yourself, while 'All I Am' attempts to answer the niggling voice inside so many people's head asking if they are enough. There's no doubt that 'Always In Between' will capture many under its spell as Jess Glynne once again reaches out her hand, and offers love and friendship and unity to all that can hear her.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.