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3rd release in the "LTD SERIES" imprint from SUDD WAX delivers a versatile 4 track 12" from label stalwarts STK. The dark speedy electro of A-side "STONED" gets reworked by newcomer UNIQUE REASON into something resembling jit, while jazzy breaks conjure old school London vibes on the B-side.

The Prodigy Carlos Nilmmns Is Back on Skylax With Once Again a Splendid 12 Inch! His Style Is a Mixture of Refinement and the Most Beautiful Things That House Music Has Ever Produced, Moodymann, Theo Parrish in the Lead but Not Only That, We Must Also Add the Masters Lalo Schifrin, Donald Byrd and Even Henry Mancini. This Ep Starts With a Bang With the Sublime "Nes", Three Letters Which Alone Sum Up the Small Miracle of Bringing Together Both the Ghosts of Detroit and the Most Beautiful Cinematic Music Directly Inherited From the Glorious 70s. "Believe" Plows the Same Furrow With a More Mental Universe and to Conclude "Parisian Nights" (Jazz Version) Which We Swear Would Not Have Been Missing on an Impulse Album. Side B Opens With "Celebration" Which Sounds More Club Tool for Once With Obviously This Je Ne Sais Quoi That Is Far Superior to All Current House Productions. and This Ends With the Club Version of "Parisian Nights", a Real Volute of Sound. His Style Reminds Us Very Strangely and Quite Paradoxically of the Illustrious Terre Thaemlitz Aka Dj Sprinkles. Music for the Soul and the Body....

The Marías ist so etwas wie das Psychedelic-Soul-Wunschkind zwischen der in Puerto Rico geborenen und in Atlanta aufgewachsenen María Zardoya und dem aus Los Angeles stammenden Josh Conway. Komplettiert wird Band durch ihren besten Freunde Jesse Perlman an der Gitarre und Edward James an den Keyboards. Geleitet von einer intuitiven musikalischen Chemie, ist ihre Musik ein sanftes Rendezvous von Jazz-Percussion, hypnotischen Gitarrenriffs, rauchig-samtigem Gesang und nostalgischen Horn-Solos. Wenn The Marías Jazz, Psychedelia, Funk und Lounge miteinander verschmelzen, hat das etwas Traumgleiches und zugleich unglaublich Sinnliches
„We’re back”, so meldeten sich The Marías Mitte Februar zurück zum Dienst. Drei Jahre nach ihrem hochgelobten, Grammy-nominierten Debütalbum taucht die kalifornische Indie-Pop-Band mit ihrem U-Boot zurück an die Oberfläche. Exakt so, „Submarine“, lautet nämlich der Titel des zweiten Albums, das The Marías am 31. Mai veröffentlichen. Für The Marías steht der Titel „Submarine“ für die Themen Einsamkeit und Erkundung. Auf dem Album tauchen sie ab in die Komplexität menschlicher Emotionen. Was bedeutet es, sich für die Einsamkeit zu entscheiden? Wo liegen der Schmerz und die Schönheit, die untrennbar damit verbunden sind? Die neue Single „Run Your Mouth“ ist eine erste Einführung in die immersive Welt, zu der die Band durch dieses Album inspiriert wurde.

The Marías ist so etwas wie das Psychedelic-Soul-Wunschkind zwischen der in Puerto Rico geborenen und in Atlanta aufgewachsenen María Zardoya und dem aus Los Angeles stammenden Josh Conway. Komplettiert wird Band durch ihren besten Freunde Jesse Perlman an der Gitarre und Edward James an den Keyboards. Geleitet von einer intuitiven musikalischen Chemie, ist ihre Musik ein sanftes Rendezvous von Jazz-Percussion, hypnotischen Gitarrenriffs, rauchig-samtigem Gesang und nostalgischen Horn-Solos. Wenn The Marías Jazz, Psychedelia, Funk und Lounge miteinander verschmelzen, hat das etwas Traumgleiches und zugleich unglaublich Sinnliches
„We’re back”, so meldeten sich The Marías Mitte Februar zurück zum Dienst. Drei Jahre nach ihrem hochgelobten, Grammy-nominierten Debütalbum taucht die kalifornische Indie-Pop-Band mit ihrem U-Boot zurück an die Oberfläche. Exakt so, „Submarine“, lautet nämlich der Titel des zweiten Albums, das The Marías am 31. Mai veröffentlichen. Für The Marías steht der Titel „Submarine“ für die Themen Einsamkeit und Erkundung. Auf dem Album tauchen sie ab in die Komplexität menschlicher Emotionen. Was bedeutet es, sich für die Einsamkeit zu entscheiden? Wo liegen der Schmerz und die Schönheit, die untrennbar damit verbunden sind? Die neue Single „Run Your Mouth“ ist eine erste Einführung in die immersive Welt, zu der die Band durch dieses Album inspiriert wurde.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

The landmark 2006 album that showcased Brooklyn's legendary Hip Hop collective with their original lineup for the first time since their 1997 debut LP "For the People." Buckshot, Smif-N-Wessun, Heltah Skeltah, and O.G.C. sound as raw as ever over a hall-of-fame production lineup including beats by Pete Rock, Large Professor, Da Beatminerz, 9th Wonder, Marco Polo, and more.

Erstmalige Reissue nach 50 Jahren der Debüt-LP "Thema Maboneng" (1975) des südafrikanischen Trios Abacothozi, das 1973 vom Bassisten und ehemaligem Mitglied der Elite Swingsters gegründet wurde. Diese epische Fusion aus sonnendurchfluteter Ausgelassenheit, funky Rhythmen und Soul-Jazz-getriebenen Beats, klingt, als wäre sie erst gestern aufgenommen worden, und steht bereit, die Tanzflächen wieder zum Leuchten zu bringen - von den Vibrant Streets in Soweto bis zu den Funky Basement Dives in Barcelona und darüber hinaus.

Mousse T. soulbrother, DJ, producer, songwriter, entrepreneur and label owner of his currently
30years celebrating Peppermint Jam Records opened his archives for his longtime bro and producer
colleague Rob Hardt.
Rob chose Mousse T.’s 2018 single release Melodie featuring Cleah to become an exclusive release
on Sedsoulciety Recordings.
The twist from a soulful House track to a thriving Electro Boogie bouncer feels so organic, that you
hear it as natural and original as such a track can sound.
Punters will be Boogie bumping, Electro bouncing, Disco dancing and hip shaking, when they hear
‘Melodie’ (Rob Hardt Mix) on the dance floors worldwide.
Already a collector’s item and must have for DJs, in true Sedsoulciety Recordings fashion with a
smashing dub version on the flipside

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

Introducing "Azerbaijani Gitara vol. 2" by Rahman Mammadli, the eagerly awaited sequel to Bongo Joe"s acclaimed debut featuring Rüstam Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression. Rahman Mammadli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, Mammadli"s compositions resonate with soul-stirring melodies and electrifying solos.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

Introducing ‘‘Sad Lovers and Giants’’, a captivation debut album that delves into the personal journey of self-discovery and emotional exploration. Each song is a heartfelt expression of Crystal’s experiences, painted with raw honesty and authenticity. With a blend of genres and a focus on evoking emotions, this album showcases the duality, embracing both beauty and darkness.It’s a musical striptease, where she bares her soul, using her raw voice to convey the depth of her emotions. ‘‘Sad Lovers and Giants’’ transcends genres, aiming to touch hearts and connect with listeners on a universal level. It’s an intimate portrayal of the artist’s inner world, inviting you to join on a captivating journey of self-expression and personal growth.

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

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

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

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

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on!

Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.