Поиск:beatles

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Hello, I Must Be Going! — Phil Collins' second solo studio album
Featuring "You Can't Hurry Love" and "I Cannot Believe It's True"
180-gram 45 RPM double LP release
Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing



On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis

Hot Apple Band’s long-awaited debut album, So Long, Noodle House is a collection of 11 tracks recorded between 2019-2022, mostly at Jack Kinder’s home studio in Strathfield, Sydney. Once the pandemic hit, Jack and Lewis Mosley had ample time to give birth to the songs, allowing for this body of work so it could become all that it deserved to be. The resulting album will no doubt please long-time fans, with a number of songs being staples from the band’s live repertoire. So Long, Noodle House is symbolic sign-off on the band’s past and an exciting peek into what’s to come. The record covers broad ground, from 70s imbued alt-country and catchy Beatles-era pop, through to emotive folk and soft rock. Coming-of-age themes run deep in the album, as Jack Kinder's lyrics touch on life changes, friendship, shitty jobs and of course, love. With Kinder's smooth vocals, clever arrangements and gorgeous vintage production, and Lewis Mosley’s unforgettable lead guitar, slide and keyboard performance, Hot Apple Band’s debut has the same charm of some of the best records from the early 1970s, radiating George Harrison, Crosby, Stills, Nash & Young, Harry Nilsson and Fanny in a similar style to modern counterparts such as Drugdealer, Weyes Blood, Daniel Romano and The Lemon Twigs.

James Ray kickstarted his career as a teenager in 1959 after he left Washington DC for New York, but debut single ‘Make Her Mine’ flopped. Two years later, songwriter Rudy Clark discovered Ray and got him signed to the Caprice label, the resultant ‘If You Gotta Make A Fool Of Somebody’ a top-30 hit that the Beatles covered in early live sets. Ray’s self-titled debut album had that hit and the equally appealing follow-up, ‘Itty Bitty Pieces,’ as well as ‘I’ve Got My Mind Set On You,’ later successfully covered by George Harrison. An overdose would tragically cut short Ray’s career, this sole LP a testament to his enduring talent.

Reissue of this super hard to find self-released Brazilian garage-beat 7" from 1965. Still very unknown even among hardcore collectors of the genre, but surely an amazing example of genuine teenage garage rock from 60s Brazil reissued for the first time The band would later become Loyce e os Gnomos, a cult band featured on the compilation Brazilian Guitar Fuzz Bananas. The reissue includes an insert with liner notes and a previously unseen photo of the band. Unearthing a forgotten chapter in Brazil's musical scene, Gatos Malucos emerges as an enigmatic garage/psychedelic band from the small city of Limera, in the Sao Paulo countryside. Comprising friends aged 14 to 16, Gatos Malucos combined their admiration for iconic acts like the Beatles and Yardbirds with an unmistakable Brazilian essence. Years later, two band members went on to form the amazing proto-punk band Loyce e os Gnomos. "I literally went crazy. I became a fanatic for the Beatles and proceeded on collecting everything related to them. Records, clothes, newspaper clippings and magazines and song lyrics. Even the Gretsch guitar, similar to the model that George Harrison played, I had the opportunity to pick up in the US. Then when the movies came up, it was pure bliss. The mood was set and, to assemble our band, it was a no brainer. After all, the music flowed harmoniously through our veins." Raphael (Gatos Malucos Guitarrist)

Soul To Burn features highly inventive and memorable avant-rock songs by trio of celebrated musicians, Reciprocate. The germ of the notion that would flower into Soul To Burn came when Reciprocate’s vocalist/guitarist Stef Kett reflected on the idea of funk rock. It ought, he thought to himself, be the best of genres but so often in practice it ends up being the poorest. True enough. Kett decided to approach the problem from a fresh angle, multiple fresh angles, grinding angles, creating an “alt-soul” in which the soul gets to stretch and burn, applied with the power of a rock’n’roll trio but dynamism and agility, rather than cumbersome bulkiness. Reciprocate is a super-group made up of highly celebrated musicians from the UK DIY music scene – their singular, searing-hot power conjured by Stef Kett (Shield Your Eyes) in tandem with drummer Henri Grimes (Shield Your Eyes, Big Lad) and Marion Andrau (The Wharves, Underground Railroad) on bass. The result is the excellent Soul To Burn, which proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Captain Beefheart’s Magic Band. That’s particularly evident on “Self Regarding Floor Sweepings”, with echoes of “When Big Joan Sets Up” from Beefheart’s Trout Mask Replica, especially with Kett’s added harmonica as the trio hit the winding dirt track, slaloming and swerving. Here is an album of full throttle soul, an avant-rock made up of ear worms so intoxicating they borrow from deep in the mind down deeper into the heart – it’s the cool, weighty groove of Tony Joe White leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating. Key to the impact of Soul To Burn is Grimes’ drumming, a force unto itself, which sometimes feels like it’s engaged in a creative and playful tussle with Kett’s virtuosic vibrato guitar. Take “Rhodia”, which sounds initially like a radical reworking, an anagram of Free’s “All Right Now”, on which Grimes doesn’t so much hit the groove as hammer it into the ground. Reciprocate tend to be averse to mere repetition, too full as they are of ideas, possibilities. But they know how to hit a riff, as on “Pissed Hymn”. Kett’s vocals are unconventionally impassioned - no vibrato or performative hollering. Rather they climb, up and and again up from the pit of the soul. There’s a sense throughout that this music is hard wrought, squeezed through small apertures, produced against the odds, born to trouble as the sparks fly upwards. There are quieter moments, however, such as the exquisitely beautiful “Ressypressocate”, which affirm the ultimately tender place from where this album proceeds, notes plucked like black flowers, twisted and cherished. Reciprocate demonstrate an astonishing virtuosity, nuance and musical sensitivity manifested through their deep mutual understanding and synergetic interactions. There are moments of sync and camaraderie that remind of the very late Beatles, those rare moments during the Let It Be Era when they loosened up, reassumed their old understanding. But then Kett’s lets fly with a long, looming note and suddenly we’re somewhere else again. With Soul To Burn, Reciprocate set out their stall of intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost. By the album’s end, you’ll feel pushed and pulled through the mill, wiped out, blissfully exhausted, strangely serene

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

Repress!

Clear Vinyl

Three songs taken from Chip Wickham's spiritual jazz album Blue to Red get reshaped by Photay, Medlar, and Chip Wickham himself. The result is a lush ep, every bit as good as the combination of a wonderful original track and an uber-talented remixer could be.

Photay has deconstructed the peaceful Blue to Red to turn it into a bomb—a storming dance track that keeps the spiritual vibe intact. The extra beatless version soothes your ear while creating a certain sense of anticipation.

The original version of Interstellar blends fusion jazz with the sound of West London's seminal broken beat scene. Medlar has plucked the track apart, then rebuilt it by adding some extra perc and synth sounds to the bass-driven beats. The result is some deep and heavy and funky business.

And finally, Chip recovered a take of wonderful astral slow jam The Cosmos that didn't make it onto the album, one with no drums, and cooked up a roomy cosmic dub, full-on Space Echo.

It will be out in a limited transparent vinyl 12"

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Two previously unreleased collages for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition »Collage 2« from 1960 was his first experiment with electronic music. »Collage 3« dates back to 1966. It's an electronic collage on »Michelle« by The Beatles.

The composer wanted to replace old concepts and clichés which had become popular and common, through the use of "natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks." This original idea underwent a drastic transformation when the RAI (the Italian radio) commissioned Clementi to write a longer work. To his initial desire to start from scratch was added the problem of a longer duration. It was only when Clementi had almost completed the piece that he gave it its final title of "Dies irae," owing to the extreme tension that accompanied its composition.

Golden Retriever returns to Omena with a release that is adventurous, pleasing and ethereal.

There's never been a more ideal time to revisit this artist and Nafasam is a testament to their enduring, transparent & unique compositions.
Six moving and ambitious songs. Absorbing, beatless rhythms blended with a beautiful light-touch and free-flowing feel for harmony, revealing true craftsmanship and a singular sound.

Iconic french punk band Ludwig Von 88 celebrates its 40 years birthday with a 4LP/CD box set including their recent albums "L'Hiver des Crêtes", 'L'Ete du No Future", "Le Printemps du Pogo" & "L'Automne de L'Anarchie".

Who managed the artistic feat of composing 56 cosmic hits in one year, recording them, engraving them with chisels on plastic discs that are not at all environmentally friendly, and packaging them in a magnificent box, with marvellous illustrations and sleeves of a taste that surpasses perfection? Who did?

Look no further than the Ludwigs, who could do it. And since they had no plans for 2023, apart from celebrating their fortieth birthday over a tasteless cake in a dingy old flat in a godforsaken suburb in the forbidden zone, they did it. And they're proud of it.

56 tracks. One album per season. The Mozart of pogo becomes the Vivaldi of stakhanovism!

Good rough punk, ska, swing, reggae, cumbia and even yodelling. What a gift to the universe before its final destruction.

Listen and enjoy. Sing along and get your groove on. After the Ludwigs, the music will have the flavour of a rosewater romance declaimed by Garou in Birkenstock and the colour of the cosmic void after his encounter with André Rieu's five poodles.

BLUE NOTE TONE POET EDITION: Produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Cover, wattierte Innenhülle. Grant Green - I Want To Hold Your Hand (Gatefold-Sleeve) Die Hits der Beatles und Bossa Novas waren Mitte der 1960er Jahre auch unter Jazzmusikern der letzte Schrei.

Der Gitarrist Grant Green zollte dem 1965 auf seinem Album “I Want To Hold Your Hand” Tribut, interpretierte mit seinem All-Star-Quartett aber zugleich ein paar Jazzstandards. “Auch wenn ein großer Teil des Materials eindeutige Pop-Obertöne aufweist, so klingt das Quartett dennoch auf sehr subtile Weise modern, sowohl bei den rhythmischen Interaktionen als auch bei der Auswahl der Harmonien durch die Solisten.” (AllMusic, 4½ Sterne) McCoy Tyner - Extensions (Single-Sleeve) Für die vier modalen Eigenkompositionen, die der Pianist McCoy Tyner auf “Extensions” vorstellte, hatte er sich - wie das Coverbild gleich signalisiert - von der Musik des afrikanischen Kontinents inspirieren lassen.

Aufgenommen wurde das einschneidende Album 1970 mit einem All-Star-Sextett, das sich durchweg aus Musikern zusammensetzte, die in den Bands von John Coltrane und Miles Davis herausragende Rollen gespielt hatten.

BLUE NOTE TONE POET EDITION: Produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Cover, wattierte Innenhülle. Grant Green - I Want To Hold Your Hand (Gatefold-Sleeve) Die Hits der Beatles und Bossa Novas waren Mitte der 1960er Jahre auch unter Jazzmusikern der letzte Schrei.

Der Gitarrist Grant Green zollte dem 1965 auf seinem Album “I Want To Hold Your Hand” Tribut, interpretierte mit seinem All-Star-Quartett aber zugleich ein paar Jazzstandards. “Auch wenn ein großer Teil des Materials eindeutige Pop-Obertöne aufweist, so klingt das Quartett dennoch auf sehr subtile Weise modern, sowohl bei den rhythmischen Interaktionen als auch bei der Auswahl der Harmonien durch die Solisten.” (AllMusic, 4½ Sterne) McCoy Tyner - Extensions (Single-Sleeve) Für die vier modalen Eigenkompositionen, die der Pianist McCoy Tyner auf “Extensions” vorstellte, hatte er sich - wie das Coverbild gleich signalisiert - von der Musik des afrikanischen Kontinents inspirieren lassen.

Aufgenommen wurde das einschneidende Album 1970 mit einem All-Star-Sextett, das sich durchweg aus Musikern zusammensetzte, die in den Bands von John Coltrane und Miles Davis herausragende Rollen gespielt hatten.

Ringo Starr achieved international fame as the drummer for THE BEATLES. Stop and Smell the Roses is a studio album originally released in 1981 which includes contributions from Paul McCartney, Ronnie Wood and Stephen Stills. This LP has deluxe packaging that will include an OBI side strip, Single album jacket, printed inner sleeve, original record labels and specialty color vinyl. This is a MUST for all fans/collectors of THE BEATLES.

"Reptile Brain Music" - Imperial State Electric's third studio album was originally released in 2013.
Clocking in at a little over 33 minutes RBM boasts a dozen tracks of their particular and peculiar rock'n'roll.
The album is bookended by two high-energy live favorites, "Emptiness into the Void" and "Down in the Bunker" in a classic Andersson style. However, the less obvious songs within also reveal some unexpected treats. The heavy Blackmoresque "Faustian Bargains" showcases some unexpected time signatures. "Dead Things" feels like Beatles meets horror movie soundtrack (Fred Estby contributes lyrics). While the frantic "Born Again" is far from pieous, delivering a blistering blow to religion.

RBM also shows the further development from solo project into a full-fledged band with multiple songwriters and different lead vocalists. Tobias Egge opens new doors with his contribution "Stay the Night" and Rudolf de Borst screams lead vocals for the wonderfully primitive title track - "Reptile Brain".

Recorded at Gutterview Recorders, mixed by Fred Estby & Nicke Andersson & produced by Nicke Andersson.
Originally released on Warner Music and promptly "Out of Print" fans have been clamoring for a reissue.
From the press release 2013 "Imperial State Electric is entering phase 3 in its ongoing battle against mediocrity.
An endless quest to make the rock roll".

"Reptile Brain Music" - Imperial State Electric's third studio album was originally released in 2013.
Clocking in at a little over 33 minutes RBM boasts a dozen tracks of their particular and peculiar rock'n'roll.
The album is bookended by two high-energy live favorites, "Emptiness into the Void" and "Down in the Bunker" in a classic Andersson style. However, the less obvious songs within also reveal some unexpected treats. The heavy Blackmoresque "Faustian Bargains" showcases some unexpected time signatures. "Dead Things" feels like Beatles meets horror movie soundtrack (Fred Estby contributes lyrics). While the frantic "Born Again" is far from pieous, delivering a blistering blow to religion.

RBM also shows the further development from solo project into a full-fledged band with multiple songwriters and different lead vocalists. Tobias Egge opens new doors with his contribution "Stay the Night" and Rudolf de Borst screams lead vocals for the wonderfully primitive title track - "Reptile Brain".

Recorded at Gutterview Recorders, mixed by Fred Estby & Nicke Andersson & produced by Nicke Andersson.
Originally released on Warner Music and promptly "Out of Print" fans have been clamoring for a reissue.
From the press release 2013 "Imperial State Electric is entering phase 3 in its ongoing battle against mediocrity.
An endless quest to make the rock roll".

Atack’s founder member and lead guitarist Keith Atack has a long pedigree in the rock music scene. He grew up during the sixties and was influenced from an early age by bands like The Beatles, Rolling Stones, Yardbirds and then on to Jimmy Page and Ritchie Blackmore. He has also toured with many pop acts like Bonnie Tyler, Rick Astley and many others. He has a rock / funk / soul style as well as a jazz and blues influence. He is joined by band members that also have strong roots in the rock scene such as Bob Richards on drums who has rubbed shoulders with members of bands like Iron Maiden, Survivor, Asia and Shy. Bassist Chris Childs is well respected and is the bass player with UK stalwarts “Thunder/ Lonerider/Tyketto”, he is an ideal addition to the line-up along with seasoned vocalist Lee Small (Shy/Phenomena/Lionheart and many more). Finishing off the quintet is Nick Foley whose keyboard prowess is ever present throughout the album. The sound of the Hammond for which he is known gives the whole album a feel of Deep Purple and Rainbow with a true classic British Rock sound. “Nine Lives” is an exciting addition to the escape music roster and available in limited edition vinyl and CD formats, something very much to look forward to.

For this special release he provides 8 cuts of advanced techno, from mental and hypnotic to broken and industrial or simply arpeggiated and beatless.

WHEN THE UNCANNY ARISES starts with No Gender Role an elastic mental exercise with metallic and processed components flying over a solid kick and white noise percussive elements add some hypnotic pads and you have a powerful mind and body tool.

Blue follows in a similar approach, clean drum programming, bleepy synth lines and a progressive arrangement constantly evolving and changing Flipping the vinyl, it’s time for the broken rhythms of Feel and understand combining distorted kicks with gummy sequences again administered in a quite wise structure.

Klonger closes the B side with obsessive metallic hits repeating until madness, a powerful industrial beat for the experienced dj’s out there.

The second vinyl slice begins with Negative One, returning to the martial beat combining a precise drum workout with floaty and liquid components, followed by Anonimo coercitivo exploring the deepest side of techno using textures and drones to spice the relentless beat.

Zero opens the C side, providing a solid distorted groove with metallic details and sci fi interstellar bell like sequences, proper futuristic vibes here.

Saying goodbye, the beatless Nothing To fear, an arpeggiated synth solo reminiscent of the old Berlin School of electronics from the seventies.

A touchable proof of his craftsmanship in the studio by one of the key figures in the European techno scene.

Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me.


Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family.

The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark.
Now it's your turn to come around and love one of the finest soul albums of the decade.

Synth pioneer and musical polymath, Wally Badarou is a genius. But you know that already. A vinyl version of his majestic Colors Of Silence has been craved by the Balearic cognoscenti ever since its low-key 2001 release. Indeed, when we first started work on Be With, we asked some pals with exquisite taste what their dream release would be. We asked Balearic legend Moonboots and, without hesitation, he said Colors Of Silence by Wally Badarou. We didn't know Wally had made this album. And most still don't. But that's about to change.

Colors Of Silence is ostensibly a new age album. As ever though, Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. It's simply stunning, throughout. It sounds like A.r.t. Wilson or Suzanne Kraft, with traces of CFCF and Jonny Nash. But it was made a good decade earlier than the work of these modern giants. Sometimes, it doesn't seem far from some Larry Heard albums.

Island Records founder Chris Blackwell's friend Nathalie Delon asked Wally to provide music for the yoga DVD she was to release. Lack of time on both sides made them agree on using "quality demos" Wally had in his ideas bank. It's understandable why Colors Of Silence remains somewhat of a lost gem. As Wally explains: "Total lack of promotion made it an 'intimate' release, which was exactly what I was looking for: just a buzz-maker and time-buyer that would allow me to concentrate on the real thing as soon as I'd have time, which could also turn into a rare collecting item later, once the final versions made their way to success. You never know."

Over the years, Colors Of Silence has become a true cult record for the ambient/Balearic heads.

The beguiling but brief "Dance In The Dust" is the shuffling, hyper-percussive, hypnotic opener. It gives way to the deep serenity of "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. The bright and breezy "Where Were We" follows, a tropical, reggae-tinged bounce through the islands.

The uptempo groove is maintained on the keys-drizzled soca-funk of "The Lights Of Kinshasa" before Side A is rounded out with "Pictures Of You". It starts with stately, melancholic, unadorned piano and this alone would make for a beautiful song. But Wally always gives us that bit extra and he effortlessly introduces warm, dreamy pads and minimal, slo-mo percussion to augment a frankly stunning piece of work.

Ushering in Side B, Wally's mesmeric piano playing is to the fore again, in the intro to uber-chilled "Serendipity For Two". The playing becomes more mellifluous as the track progresses and adds warmth through exotic percussion, woodwind, sweeping synths and digi-drums. It has echoes of, er, Echoes. It segues seamlessly into the more propulsive, wavy "Smiles By The Millions". If you're not nodding and grinning along widely to the gently throbbing bassline underpinning this, we can't help you. The meditative "Higher Still" follows, cinematic in feel and ever so slightly sinister with the strings. It sounds particularly Badalamenti-esque, if you ask us.

That unmistakable, almost peculiar Badarou funk - so lyrical, so texturally rich and so rhythmically spacious - is all over "Oriental". Next up, "Days To Wonder" brings the serenity back, insistent yet melodic keys, as if played in a place of worship, coupled with birdsong, conjure a kind of instant nostalgia for halcyon days of youth. The contemplative "Dawn Of Europa" is a sombre, beatless, ambient journey whilst the glorious, too-brief "Crystal Falls" features soft percussion and sparkle before fully glistening with some gentle head-nod beats. Wally brings this incredible collection to a mellow, tender close with the graceful "Purple Lines".

There can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. A synth specialist, Badarou was the long-time associate of Level 42. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Special thanks must go to Apiento from Test Pressing who first introduced us to Wally and facilitated all those early zoom meetings. It couldn't have happened without his help. Not least on pulling the art together, too, which features striking original photography by Mads Perch. Benji Roebuck of Roebuck Press did his thing brilliantly in art working the whole package to completion. All in all: essential.

The first color pressing of this title. We’re talkin’ TEX-MEX ROCK ‘N’ ROLL! In this show from January 21, 1981, Doug Sahm (AKA Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR DOUGLAS QUINTET was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

JIMI HENDRIX / LIVE AT THE HOLLYWOOD BOWL: AUGUST 18, 1967 - Diese Aufnahme wurde noch nie zuvor veröffentlicht oder als Bootleg erhältlich. Sie fängt die Jimi Hendrix Experience in einem einzigartigen Moment ihrer beeindruckenden Karriere ein. Vor einem ausverkauften Publikum von 17.000 Zuschauern begeisterte die Experience ein ahnungsloses Publikum mit einer großartigen Show, die seine Interpretationen von Songs der Beatles, von Bob Dylan, Howlin' Wolf und Muddy Waters sowie seine unverkennbaren Songs wie "Purple Haze" und "The Wind Cries Mary" umfasste. "Are You Experienced", das Debütalbum der Band, war damals noch nicht von Jimis Label Reprise veröffentlicht worden.

Die Psychedelic Porn Crumpets sind mit ihrem sechsten Studioalbum zurück. Das australische Psych-Rock-Fünfergespann hat seit der Veröffentlichung von "Night Gnomes" im Jahr 2022 an "Fronzoli" gearbeitet - ein Titel, der so viel bedeutet wie "etwas Unnötiges, das als Dekoration hinzugefügt wurde". Dilemma Us From Evil" ist die neueste Singleauskopplung aus dem Album und ein Paradebeispiel für Psychedelic Porn Crumpets' verblüffende Mischung aus schweren, melodischen Gitarren, harmonischen Texten und exzentrischem Songwriting. Es folgt auf die Singles "Nootmare (K-I-L-L-I-N-G) Meow!" und "(I'm a Kadaver) Alakazam", die Anfang des Jahres veröffentlicht wurden. Das Album strotzt nur so vor dem überdrehten, glitzernden Sound der Band aus Perth, der Einflüsse von klassischen Rockgrößen wie Black Sabbath, Led Zeppelin und den Beatles sowie experimentellen elektronischen Jazz enthält. Diese Rockeinflüsse sind auf "Fronzoli" deutlich zu hören, mit thrashigen Grunge-Tracks wie "Sierra Nevada" und dem frenetischen "Hot! Heat! Wow! Hot!", in denen die hyperaktiven Gitarren und die schrägen Texte der Band zur Geltung kommen. Die Band, die als Freunde begann, bevor sie sich zusammenfand, ist stolz auf ihre fröhliche und ungeschliffene Unordnung, wenn es um Songwriting und Produktion geht. "Diese Platte ist mein bisheriges Lieblingswerk", sagt Songwriter und Frontmann Jack McEwan, "jede Nuance wurde diskutiert, verleumdet und sorgfältig in die richtige Position gebracht, es wird sporadisch außerhalb der Linien gemalt, so dass diese extravertierten Schnörkel übrig bleiben." Jede LP-Farbe ist auf nur 250 Exemplare limitiert. Die CD ist ein aufklappbares Digipack, 500 Stück gepresst.

Nach ihrer äußerst erfolgreichen Sommertournee kehren BUSH im Herbst mit Loaded: The Greatest Hits 1994-2023 zurück.

Mit über 20 Millionen verkauften Tonträgern, 1 Milliarde Streams und einer Reihe von Nr. 1-Hits ist die GRAMMY®-nominierte, mehrfach mit Platin ausgezeichnete Band ein Ausnahmetalent der Rockmusik, dessen Einfluss mit den Jahren immer größer wird. Loaded bietet einen umfassenden Überblick über das unglaubliche Vermächtnis der Band mit 21 Tracks, die fast 30 Jahre umfassen.

Loaded enthält ikonische Hits von jedem der neun Studioalben der Band sowie ”Mouth” (The Stingray Mix) vom Remix-Album Deconstructed aus dem Jahr 1997 und eine Coverversion von ”Come Together” von den Beatles, die 2012 in einer sehr begrenzten Auflage erschien.

Ab dem 10.11.2023 als 2LP und 2 CD verfügbar

THE KORGIS’ latest album release ‘Orchestrations’ beautifully re-imagines in amazingly inventive and unexpected ways the greatest songs of this inspirational chart-topping band with a fully-orchestrated classical treatment.

Opening with the immortal line “Change your Heart, look around you, change your Heart, it will astound you” from international hit and one of the greatest love songs ever, “Everybody’s Got To Learn Sometime”, these brand new classical interpretations weave their way through the The Korgis’ rich tapestry of song-writing.

Featuring the1979 Andy Davis-penned debut hit “If I Had You”, The Beatles homage “Something About The Beatles”, enduring fan favourite “All The Love In The World”, original Trevor Horn production and South American hit “Don’t Look Back”, concluding with prophetically-entitled James Warren and Andy Davis collaboration “This World’s For Everyone”, ‘Orchestrations’ is a fitting tribute to over 40 years of class song-writing.

Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.

The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.

Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.

"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.

The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.

Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.

The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!

Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.

The audio for Drugs has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

‘The Masterplan’ is an extraordinary collection of B-sides originally featured on singles from Oasis’ era-defining first three albums, ‘Definitely Maybe’ (1994), ‘(What’s The Story) Morning Glory?’ (1995), and ‘Be Here Now’ (1997). Far from being inferior to the singles they backed, many of the 14 tracks that feature on ‘The Masterplan’ have become as cherished as the band’s biggest singles from that seminal period. The album includes tracks ‘Acquiesce’, ‘Half The World Away’, ‘Talk Tonight’, Oasis’ iconic live cover of The Beatles’ ‘I Am The Walrus’ and the epic title track. Noel has often described ‘The Masterplan’ as one of the best songs he has ever written.

Formats include CD, Heavyweight Black LP and limited-edition Silver LP, to celebrate 25 years. The Masterplan’ charted at No.2 in the UK Official Album Chart UK selling over 122,000 copies in its first week. It went on to be certified triple platinum and has sold over three million copies worldwide.

‘The Masterplan’ is an extraordinary collection of B-sides originally featured on singles from Oasis’ era-defining first three albums, ‘Definitely Maybe’ (1994), ‘(What’s The Story) Morning Glory?’ (1995), and ‘Be Here Now’ (1997). Far from being inferior to the singles they backed, many of the 14 tracks that feature on ‘The Masterplan’ have become as cherished as the band’s biggest singles from that seminal period. The album includes tracks ‘Acquiesce’, ‘Half The World Away’, ‘Talk Tonight’, Oasis’ iconic live cover of The Beatles’ ‘I Am The Walrus’ and the epic title track. Noel has often described ‘The Masterplan’ as one of the best songs he has ever written.

Formats include CD, Heavyweight Black LP and limited-edition Silver LP, to celebrate 25 years. The Masterplan’ charted at No.2 in the UK Official Album Chart UK selling over 122,000 copies in its first week. It went on to be certified triple platinum and has sold over three million copies worldwide.

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Haunt the Woods, die 2016 zwischen Plymouth, Devon und Cornwall gegründet wurden, verweben gekonnt Alt-Rock, Folk, Prog und Pop mit einem epischen Maß an Pomp und poetischer Eleganz, die auf ein weitaus längeres Bestehen schließen lassen, als ihre jungen Jahre vermuten lassen. Mit Anleihen von Queen und Muse auf der einen Seite, Jeff Buckley oder Radiohead und mit einem Hauch von Beatles-verliebter Pop-Sensibilität auf der anderen Seite, haben sie die seltene Fähigkeit ein Erbe zu beschwören und gleichzeitig einen Sound zu kreieren, der ganz und gar ihr eigener ist: meisterhaft vielschichtig, fröhlich unkonventionell und kreativ von der Literatur und der Landschaft geprägt. Landschaft.

Haunt the Woods, die 2016 zwischen Plymouth, Devon und Cornwall gegründet wurden, verweben gekonnt Alt-Rock, Folk, Prog und Pop mit einem epischen Maß an Pomp und poetischer Eleganz, die auf ein weitaus längeres Bestehen schließen lassen, als ihre jungen Jahre vermuten lassen. Mit Anleihen von Queen und Muse auf der einen Seite, Jeff Buckley oder Radiohead und mit einem Hauch von Beatles-verliebter Pop-Sensibilität auf der anderen Seite, haben sie die seltene Fähigkeit ein Erbe zu beschwören und gleichzeitig einen Sound zu kreieren, der ganz und gar ihr eigener ist: meisterhaft vielschichtig, fröhlich unkonventionell und kreativ von der Literatur und der Landschaft geprägt. Landschaft.

Dark Horse Records feiert den 20. Jahrestag von JOE STRUMMERs (The Clash)2003er Album Streetcore. Der Sound wurde von Paul Hicks (The Beatles, The Rolling Stones, George Harrison) neu gemastert und die Grafiken wurden von der Originalveröffentlichung reproduziert.

Dem Vinyl liegt ein exklusiver Druck von Strummers handgeschriebenem Text zu "Coma Girl" bei.

Das dritte Studioalbum von Joe Strummer and the Mescaleros, das die Single "Coma Girl" enthält, wurde nach Joes Tod im Jahr 2002 veröffentlicht. Daher wurden viele der Tracks als erste und einzige Gesangsaufnahmen veröffentlicht. Die bei den Fans beliebte Coverversion von Bob Marleys "Redemption Song" und der Track "Long Shadow" wurden von Rick Rubin produziert. Dark Horse feierte kürzlich den 70. Geburtstag von Strummer mit der Veröffentlichung von Joe Strummer 002: The Mescaleros Years.

Aesthetically, Hometown Vampire provides a guided tour through 50 years of guitar music, calling out to greats like a prayer, asking for the songs we love to act as guidance through the trouble around us. The characters labeled here as vampires refer to any of the lowlifes we see around us or in ourselves; the punisher at the bar, the chronic failure who's always got a new scheme, the kinds of people who live in the past and stew in bitterness. Hometown Vampire is a farewell to all the good and bad of music scene chicanery, late night shit-talking, and all the failed romances before.

For fans of:
The Beatles, Girls, The Lemonheads, Pavement, Real Estate, Death Cab for Cutie, Hovvdy, Mac Demarco, Vampire Weekend, Billy Joel

Homemade, charming folk-rock with the lovely voice of MANDY MORTON, 12-string guitars, dulcimer, mandolin, fiddle… Fabulous covers of “Let No Man Steal Your Thyme”, “Matty Groves” and more!

Formed in the early 70s, Spriguns of Tolgus evolved from the folk duo of Mandy & Mike Morton and the scene centered around their Anchor Folk Club in Cambridge. In 1974, the band (Mike and Mandy plus Rick Thomas and Chris Russon) decided to produce a recording to raise funds for new equipment. Using a small tape recorder and mixing desk, “Rowdy Dowdy Day” was recorded live in the dining room at the band’s rented house. A small number of cassettes were produced and subsequently sold at the Anchor Folk Club.

With the original cassette impossible to find now, we’re glad to present a new vinyl edition.

“We grew up in the ’60s to the sound of The Beatles; we embraced flower power and all it brought with it; and we indulged ourselves in every type of music on offer. From America came The Byrds, Jefferson Airplane, Joni Mitchell and Bob Dylan, and here in the UK we celebrated our own heroes, Pentangle, Fairport Convention, The Incredible String Band and later Steeleye Span” – Mandy Morton

Caleb Nichols put himself on the map with Ramon, a critically acclaimed
queer Beatles rock opera
Now, he's tackling something of a more radical proposition -- just 11 great songs,
full stop.
Nichols is out with his new album, Let's Look Back -- his second full-length album
on the hallowed indie label Kill Rock Stars.
"It's about the idea that you have to look back and confront stuff before you can
move forward," Nichols says. "It's about vindication, and reintegration, and
trusting yourself."
Produced by Zach Rogue, Let's Look Back's highlights are everywhere -- from the
unstoppable power-pop rocket that is "Demon Twink" to the luminous pop of "J'ai
Vu La Lune!" to the bold and brassy "Wicked."
"I'm not the good witch/ I'm the bad one!" goes Nichols' infectiously catchy
refrain. But Let's Look Back is most definitely a good one -- one that will send fans
of early 2000s indie rock, from the Shins to the Decemberists to Belle and
Sebastian, to heaven.

This 1970 album see master saxophonist Stan Getz cover hits of the day, with Beatles producer George Martin at the controls. Getz tries his hand at songs by Paul Simon, Bacharach-David, a heartfelt take on Joni Mitchell’s “Both Sides Now” and Graham’s Nash title track. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

What do Elvis Presley, the Beatles and all the other rockers have in common? They all performed songs by Chuck Berry. Rhythm, musicality, intelligent lyrics, sensuality, insolence, humor, style... It's all there! His records are the perfect rock'n'roll vade mecum.

Full of shimmering guitars, opulent harmonies, and good ol' rock 'n' roll, the band was limited to a handful of singles before going their separate ways. Here you'll find a full LP's worth of The Gestures on vinyl, all killer no filler!

In California, The Gestures were especially well- received, maybe because "Run, Run, Run" had the lightness, the hook, and infectious drive of the California surf and car band hits. Record World's hot picks column called it a surf-like sound that should endear them to teens. The slice is a hard-driving ditty. Cash Box said The Gestures bow was a hard- rock- ing, Liverpool- sounding affair... powerhouse instrumental support on this haunting entry. There's a complete change of pace in the soft-sounding uptempo undercut.

"'Run, Run, Run' hit #1 in the Twin Cities, #3 in Los Angeles, #1 in New York and #3-5 in Oklahoma City. It reached the top of the local C&N Sales jukebox charts, cracked Billboard Magazine's top 40, and as I mentioned before, was even played on Bandstand. It was right up there with records by the Hondells, Gene Pitney, Jay & the Americans, and all the early British bands - including the Beatles."
- Dale Menton (of The Gestures)

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Dark Horse Records veröffentlicht das legendäre Live-Konzert von Joe Strummer & the Mescaleros in Acton Town Hall, neu gemastert vom Grammy-Preisträger Paul Hicks (The Beatles, The Rolling Stones, George Harrison) erhältlich auf 2LP-Vinyl und CD.

Das am 15. November 2002 aufgezeichnete Konzert war ein Benefizkonzert für streikende Feuerwehrleute und war einer von Joes letzten Auftritten (er verstarb einen Monat später). Teil des Auftritts eine Reunion mit Mick Jones, Strummers ehemaligem Bandkollegen von The Clash, der zum ersten Mal seit fast zwanzig Jahren für drei Songs wieder mit Strummer auf der Bühne zusammenkam. Es war auch das letzte Mal, dass sie gemeinsam auf der Bühne standen.

Die Vinyl ist in einer Gatefold-Hülle verpackt, inklusive bisher ungesehenen Fotos von der Show sowie neue Linernotes vom ehemaligen Feuerwehrsekretär Andy Gilchrist, der die Band bei der Show vorstellte und die Streiks anführte, die Joe unterstützte. Dies ist das erste Mal, dass das Konzert mit einer umfassenden Verpackung auf Vinyl veröffentlicht wird. Die extrem limitierte vorherige Version, die 2012 exklusiv zum Record Store Day erschien, hatte nur eine DIY-inspirierte Klarsichthülle und war das erste Mal, dass es auf CD
veröffentlicht wurde.

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.

Along with Aunt Mary, Junipher Greene and Terje Rypdal, Saft were also a well known group who
were part of the growing norwegian music scene in the end of the 60s and the beginning of the 70s.
Their rare debut album, released in 1971 on Polydor, is a great mixture of beatlesque songs,
garnished with some progressive pieces and touches of folk. You really can feel the enthusiasm of the
band to create a long lasting experience for their listeners throughout the entire album... and they did a
great job because every track is a brilliant musical journey on its own.

Guitar Legend! Songwriting Legend! Producer Legend! Blues Brother & Stax Legend!

Like the first words of a book, the opening notes of an album can make you lean in. Sometimes it’s like meeting a stranger who later becomes a lifelong friend, or on rare occasions, a spouse. Please drop your stylus on this record and say hello to your new best friend. Hear the confidence, hear the tone, feel the vibe.
—Robert Gordon (from his liner notes)

As a founding member of Stax house band Booker T. & The M.G.’s, Steve Cropper was involved in some of the most important music of the 1960s as a player, songwriter, and producer. The following decade introduced him to a new group of fans as guitarist for The Blues Brothers, appearing on both their records and film. A two-time Grammy® winner and Rock and Roll Hall of Fame inductee, Cropper has been an integral thread in the cloth of American music, writing, playing and producing into the 21st century to this very day.

In 1969, Cropper released his first solo album, producing and arranging its eleven tracks himself. His backing band? While there is no actual record of who played on the album itself, Grammy® winner Robert Gordon’s liner notes point to his fellow M.G.’s, Buddy Miles, Jim Keltner, the Bar-Kay’s James Alexander, and more as candidates. From original tracks to its well-known covers (including The Beatles classic the release shares its name with), it is a tour de force of pure Memphis rock and soul.

The core eleven tracks now appear again on an all-analog cut, new pressing of the LP as With A Little Help From My Friends returns for a new generation to experience. The CD version contains a whopping eight bonus tracks, including four tracks not included on the original release and alternate versions of four that do. Add in Robert Gordon’s notes and this release is as much a history lesson as it is a timepiece of pure musical magic.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.

It only took fifteen minutes for Bob Gaudio to pen the lyrics to Sherry,
which was originally named Jackie Baby as a tribute to First Lady
Jacqueline Kennedy. Producer Bob Crewe had suggested to Gaudio that he should write a song which exploited Valli's remarkable vocal range.

It reached Number 1 in America and stayed there for five weeks along with top-ten success in the British charts. Under his guidance, the group followed up with Big Girls Don't Cry and another Number 1 in the American charts ensued.

The Four Seasons were one of the few American acts to survive the British invasion of 1964. Indeed, they are the only act to have a US Number 1 hit before, during and after the Beatles successfully invaded the USA.

Flag was originally released in 1979 and is the ninth album by James Taylor. In addition to newly written originals, the album includes the hit "Up On The Roof" (a Drifters cover co-written by Carole King), the Beatles cover "Day Tripper" and a remake of Taylor's own "Rainy Day Man".

The singer-songwriter worked with a number of other musicians on this album, including Carly Simon (backing vocals), Graham Nash (backing vocals), and David Sanborn (saxophone). Being the fine craftsman that James Taylor is, he has made sure that the album runs the gamut of emotions, with some songs rocking a little more than before. Also included are two songs he wrote for the 1978 Broadway musical Working: "Brother Trucker" and "Millwork".

And for those wondering about the album's artwork, the signal flag that makes up the cover is called "Oscar" and indicates "man overboard", as used in the old maritime days in a situation where a person had fallen from a ship or boat.

Flag is available as a limited edition of 1000 individually numbered copies on pink coloured vinyl, housed in a gatefold sleeve and includes an insert.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

2023 Reissue

After releasing Undefined, Kazufumi Kodama and Babe Roots, the 4th release from a Japanese experimental dub label newdubhall welcomes the ever-evolving pioneer of minimal dub and dub techno Deadbeat, a solo project of Scott Monteith hailing from Canada. Side A 'Things Fall Apart' will feature a beatless dub ambient which shares a perspective of free jazz and 'Adieu Chez Cherie,’ an absolute knockdown four on the floor dub techno on the flip side. Though simple, both sides are layered with complexity, let yourself experience the profundity of newdubhall with this masterpiece.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

'Cody Fry shot to internet stardom when his song “I Hear A Symphony” went viral on TikTok. It was soon followed by a second viral track, a sophisticated symphonic pop cover of the Beatles’ “Eleanor Rigby.” On ‘The End’ – his debut album with Decca Records – Cody rolls the credits on a difficult few years of panic, pandemic and crisis, and looks to the future. Touching on themes of anxiety and potential with a cinematic Golden Age glow, ‘The End’ is bold, quirky, dark nostalgic and hopeful.

Ariel Posen's music occupies the space between genres. It's a rootsy sound that nods to his influences — heartland rock & roll, electrified Americana, blue-eyed soul, R&B, Beatles-inspired pop — while still moving forward, pushing Posen into territory that's uniquely his own. Posen seeks answers with new album, Reasons Why. The internationally known Canadian rocker wrote this new reflective album coming out of half a year of lockdown and was extremely inspired creatively, 30 songs turned into a batch of 10 tracks for the new album and were recorded in Winnipeg, Manitoba and Montreal, Quebec. Reasons Why shows once again that "best" is a high standard for Posen. The new songs represent another step forward in every aspect – lyricism, musicality, playing, sonics. The songs are nuanced but impactful, deeply resonant but universally accessible. Posen blends craftsman's care with the daring do of a seasoned live player, resulting in an immersive adventure that reveals fresh merits on every listen. On Reasons Why Posen determinedly defies any easy genre identification and refuses to be sealed in any sonic cubbyhole.

It is always our pleasure to have new talents in the house, and we've been following Notzing's development since long ago. His approach to techno is absolutely personal and complex, hard and intrincated, mental and physical.

Protae is the first missile in this box full of weapons, a super busy techno exercise with compacted drums, drilling synth lines and random metallic hits breaking the monotony. The effect on the floor is devastating and has been tested extensively in dancefloors worldwide by label owner Oscar Mulero in the past months. 7 minutes of pure dancefloor mayhem.

Fagus continues with the sickness, with hysterical synth washe repeating an hypnotic chant, adding layers of sound as the groove goes by. Repetition is here the key to proper trance, not exactly with pleasant tones but by aggression.

Ekaterin is gummy and elastic with formant synth sounds chewing frequencies and changing constantly in shape. Another mental mantra with a physical drive.

Molniya slows down the pace and dives into profound sound scapes full of unnatural underwater sounds and washes providing a feeling of scuba diving.

To end this sonic odyssey, Emision goes completely beatless, growing from the profound sub bass frequencies to crispy and crunchy surface noises, creating the soundtrack of floating in outer space with no gravity. Please beware of the super intense bass tones when playing on a big sound system.
The perfect combination of experimentation and punchiness, keep an eye on this guy, is gonna make some proper noise in the coming years.

Zwei Jahre nach "It's a Long Way to Happiness", das über 20 Millionen Mal gestreamt wurde, meldet sich der Pianist Alban Claudin mit seinem wunderbaren zweiten Album "Room of Reflection" zurück. Während sein erstes Werk als eine Reise gedacht war, die sich der Natur und der Welt öffnete, ist dieses zweite Album persönlicher und stellt Fragen zu unserer Identität in der Gesellschaft: Wie kann man in einer Welt, die von Bildern sowohl in den Medien als auch in den sozialen Netzwerken überflutet wird, seinen Platz finden, Abstand gewinnen und sich selbst finden? Dreizehn Titel, die wie eine intime Reise konzipiert sind. Im Vordergrund steht die Melodie, berauschend, eingängig und teuflisch wirksam! Melodien, die man auf der Straße pfeifen kann, so wie man einen Beatles-Song pfeifen würde. Die Stärke von Alban Claudin: Er verleiht jedem Stück die Kraft eines Pop-Hits. Mit nur wenigen Klaviernoten gelingt es ihm, uns mehr zu sagen als jeder geschriebene und gesungene Titel. "Room of Reflection" erzählt uns vom Leben eines jungen Mannes in den Dreißigern: von seinen Freuden, seinen Zweifeln, seiner Beziehung zur Welt. Ein Album, das in seiner Zeit verankert ist und von Sanftheit und Träumerei geprägt ist.

Wewantsounds is delighted to reissue Farid el Atrache"s cult album "Nagham Fi Hayati" released in 1974 on Voice of Lebanon. It is the soundtrack of the eponymous film starring El Atrache. Sampled by the Beatles and nicknamed the "King of Oud", El Atrache is one of the giants of Egyptian music together with Oum Kalthoum and Abdel Halim Hafez. The album which showcases El Atrache"s versatility and includes the monster groove "Hebina Hebina", is one of Brian Eno"s favourite albums. Reissued for the first time since the 70s, "Nagham Fi Hayati" also contains an unedited version of "Takassim Oud" highlighting El Atrache superb oud playing. Remastered for vinyl by Colorsound Studio in Paris it includes new.

Pierre Dutour's infamous Top Fiction is the epitome of a 5-tracker. Coming to light in 1979 on Tele Music, its collection of environmental themes are *all astounding*. We're talking all-time heavy hitters, here. They come recommended as tracks you'd choose to elegantly elevate deep selector sets or mixes.

Skip the irritating whistle-laced marching-band funk of "Captain Parade" and head straight to the glistening synths and proud horns of beatless ambient wonder "Mountain Echoes". Arguably worth the price of admission alone. It's that good. The sci-fi atmospherics of "Space Fiction" are definitely sampleable whilst the proud horns of "Mountain Trumpet" definitely contain blasts that could be of creative use. "Tambours Parade" is more marching-band funk, only this time the drums go hard and there's a lot to like about this one.

Truly, it's all about the B-Side. A real B-Side for the ages, in fairness. It opens with the gorgeous "Deer Forest". It's one of the most beautiful songs you'll ever hear. Like something off Brian Bennett's Voyage, it rides dreamily melodic synths, and comes on, as one fan claimed "like something Angelo Badalamenti would have co-written with Final Fantasy composer, ???? Nobuo Uematsu". It's jaw-dropping. Be instantly beguiled by the deep eerie nostalgia and pretty delicate piano of "Magic Lake I" and the whistling-synth-augmented "Magic Lake II". The almost-title-track "Pop Fiction" is another hidden gem, containing dreamy, glistening arpeggios that are just begging to be sampled with a heavy knocking beat behind it. The set closes with "Damnation Space", 2 minutes of spooky Musique concrète.

So, 5 absolutely incredible tracks and 2-3 good ones. An excellent ratio for a library album, I think we can all agree. Trust us when we say that the heavy hitters are just absolute gold, rendering this one an essential, buy-on-sight purchase. Go listen and discover for yourselves...

The audio for Top Fiction has been remastered by Be With regular Simon Francis, ensuring this divisive release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original space-age sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

In 1972, a foursome of design students set out to make a record. This was, in many ways, a strictly creative endeavor. The quartet — composed of Dave Pescod, Alan Lewis, Phil Rawle, and Ted Rockley — were all trained, not as musicians, but as creatives. Art school heavyweights, the four were well-versed in the methodology of intentional experimentation, in the delicate balance of pushing the limits without completely unmooring oneself from a guiding creative intention. Emboldened by a high-brow familiarity with thoughtful experimentation and all the non-conviction of non-musicians, Bowes Road Band’s stint in the world of popular music yielded a record that is as much mind-melting as it is a direct product of its time. Their sprawling LP “Back in the HCA” embodies the exigence “art for art’s sake,” but it is for art’s sake that this record, however off the deep end it seems to travel (hear: “Doctor, Doctor”), remains a unified, and stunning, body of work. The LP’s do-ityourself garage rock noisemaking meets highfalutin creative processes. “Back in the HCA” is warbling psychedelic freakout (“Two Fingers,” “Doctor, Doctor”), Donovan-esque English countryside folk stylings (“Inside My Head,” “Goodbye to Rosie”), and avant-garde jazz improvisions (“Grass is Grass,” “Tomorrow’s Truth”) in one luminous release.

Originally an 9-track LP, Jakarta, Uno Loop, and Bowes Road Band decided to mine the six most cohesive tracks for the reissue, though the extras may be released somewhere down the line. Cohesion efforts aside, “Back in the HCA” stands alone in its singular conception of a genre-bending continuum — it evades definition. That said, the LP can easily be situated in the sonic environment in which it was conceived. By the end of the 60s, England was crawling with blues-based rock outfits that were starting to venture into prog rock territory. You can hear this popular dint cast over the folkier side of the LP. But Bowes Road Band was armed with their non-musicianship: they existed completely liberated from the motivating yet ultimately paralyzing lust for stardom. Enjoying this liberation, Bowes Road Band was utterly free to make noise. This freedom meant drawn out sax interludes amidst sweetly folk stylings (“Grass is Grass”) and Shaggs-like fuzzed-out freakouts that spiral into a void (Doctor, Doctor). This freedom also meant straight-forward tuneful cuts like “Goodbye Rosie” that conspicuously introduce heavily distorted auto-organ accompaniment mid-track amidst poignant lyricism. Bowes Road Band crafts a unified sound and then cracks it open.

With a completely off-the-radar status, Bowes Road Band could only press 50 copies of the record — 10 for each of them and 10 for the school. The band’s lifespan was to end there, or so they thought. “Back in the HCA” was the accidental fruit of a Berlin flea market treasure hunt by Jannis Stürtz, DJ and co-founder of Habibi Funk and Jakarta Records. After finding and sharing the LP with a few colleagues, Stürtz managed to get in touch with the band, get ahold of the master tapes collecting dust in Ted Rockley’s attic, and start the reissuing process. The record is still adorned with its original cover art designed by Alan Pescod, both reminiscent of bygone school days and the Zoom calls of yesterday — in short, reunion. Its re-discovery was happenstance and ought to be listened to as such. That is, “Back in the HCA” was not made to be listened to on a broad scale, or, at least, was not made with this goal in mind; it is neither in its time nor of its time. Of course, the group explicitly cites the folk tunes of the English countryside, the distorted rock groups that reigned during the record’s conception, and the fringes of psychedelic music that only the uber-underground might recognize (e.g., “Dreaming of Alice”). Yet still with these obvious influences, “Back in the HCA” always existed beyond the domain of both traditional musicianship and conventional commodification. Bowes Road Band’s DIY musicality beams through in technicolor across “Back in the HCA.” The vinyl includes an 8-page booklet detailing the albums creation and interviews with the band.

Lead single “Grass is Grass,” out July 14 along with album pre-order, encapsulates the record’s range: the track unfurls into a sprawling sax-driven trip following a sundrenched, Donovan-esque intro w/ lyrics “naively about parks and gardens, not marijuana!” The keyed-down folk cut “Goodbye to Rosie” is single 2 and elevates stripped-down acoustics with golden tinges, out August 4th. Focus track “Tomorrow’s Truth” constructs the fuzzed-out underbelly of acid folk. Listen for echoes of late Beatles, Mark Fry, and Donovan (if they were armed by an unshakabele willful naiveté). Like Sgt. Pepper’s on a shoestring budget—take a trip to the underground with LP “Back in the HCA,” available everywhere physically and digitally on September 1st via Jakarta Records and Uno Loop.

Besides online promotion from label profiles, the album will be further promoted by external agencies within the UK and US.

Doppel-LP im Klappcover mit zwei bedruckten Innersleeves, 140 Gramm Vinyl. Was tun, wenn die Welt stehen bleibt? März 2020 ist der Moment, als die deutsche Schauspielerin Melanie Wiegmann auf der kleinen maltesischen Insel Gozo landet, um dort ihren Lebensgefährten, den Musiker Carl Carlton, zu besuchen. Pandemie, Quarantäne, Reisebeschränkungen - nichts geht mehr. Carl, international vernetzter und bekannter Rockgitarrist, ist gezwungen, sämtliche musikalischen Projekte auf Eis zu legen. Auch für Melanie wird die Reise zur Zäsur. Sie bricht Brücken ab und verlässt die laufende Produktion der ARD-Telenovela "Sturm der Liebe", mit der sie zum Star wurde. Aus ihrem ursprünglich geplanten Vier-Tage-Trip werden schließlich drei Jahre. Das Paar nutzt die Zwangspause auf der Mittelmeerinsel, um sich der Musik zu widmen. Im Vordergrund stehen der Spaß und die gemeinsame Liebe zu den Songs, an eine kommerzielle Verwertung denkt niemand. Der rote Faden, der sämtliche Songs verbindet: das ewige Thema Liebe - mit allen Schattierungen. Melanie und Carl entwickeln Arrangements und stellen fest, dass nicht nur ihre Stimmen, sondern auch ihre Geschmäcker harmonieren. Das Great Americana Songbook bildet die Grundlage. Neben Genre-Klassikern wie "Love Hurts" und "If I Needed You" kommen auch die Beatles ("Here, There And Everywhere") und Perlen aus den Katalogen großer Songwriter wie Leonard Cohen ("Dance Me To The End Of Love"), Tom Petty ("Wildflowers") und John Prine ("Long Monday") oder Bob Dylan ("I'll Be Your Baby Tonight") ins Spiel. Als Reisen endlich wieder möglich ist, packen die beiden die Koffer, um Carls weltweit verzweigte Musikerfamilie zu besuchen. Die Aufnahmen der Songs entstehen in Irland, Berlin und schließlich auf Malta. Den Feinschliff für das Album gab es in New York von Mastering-Legende Fred Kevorkian. Mit "Glory Of Love" ist ein warmherziges musikalisches Tagebuch entstanden, das mit eigenwilliger Songauswahl, unprätentiösen Arrangements und natürlichem Charme überzeugt. Die vielleicht schönste Überraschung: Hier haben sich nicht nur zwei Seelen, sondern auch zwei wundervoll harmonierende Stimmen gefunden.

If you dig deep enough into the underground you will find the most precious jewels and it ain't that much of an effort these days to turn on the computer and trip through the colorful World Wide Web. But beware for not all the glitter is gold. I stepped by some dark and dusty back street club in Atlanta / Georgia, USA and some enchanting music tempted me to enter. A powerful raspy voice screaming out the pain of the world no matter if it were big or small affairs. "California dreaming on such a winter's day", wow, when the MAMAS AND PAPAS sang this in a sweet folk manner it was a light and joyful anthem for all hippies and hipsters back in 1966, like a call to love. Lee Moses' version is more of a desperate cry for sunshine and freedom. And it goes on this way. His voice has this special phrase showing determination, pain but also sheer joy of life. His 1971 album is a steady groover with a steaming hot band performing , which includes a brass section of divine greatness. These devoted players build up a massive wall of groove and melody on which Lee Moses can unleash his voice like a volcanic eruption. The groove itself stays quite relaxed but definitely hypnotizing throughout the whole album and clears up your mind for the message of love Lee Moses raves about. The high skills of Lee's backing band gets showcased in a steaming instrumental version of THE FOUR TOPS' "Reach out (I'll be there)", which appeared on an early 7" first and got added here as a bonus track. They don't stop for THE BEATLES' "Day tripper" either and next to "California dreamin'" you can find another heart warming version of "Hey Joe" on the regular album. Not as extraordinary outraging as Hendrix' turn on this classic Lee and his mates make it a slightly more epic effort. All in all this is a soul album with very few covers and even more classic anthems of this genre that should actually be worshipped by lovers of the late 1960s Motown sound. Especially the bonus tracks will drive you wild. Go for it, brothers and sisters.

Snakes and Ladders, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1980, the fourth album from Gerry Rafferty includes "The Garden Of England" which was recorded at Beatles producer George Martin's AIR studio in Montserrat and "Johnny's Song", a remake of a song previously released by his former band Stealer's Wheels.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

LP-Reissue des ersten Albums, ursprünglich 2010 veröffentlicht!
Die Gruppe spielt eine Mischung aus Doom Metal und Psychedelic Rock der 1970er-Jahre, wobei die Gitarrenriffs an Black Sabbath erinnern. Des Weiteren wurde die Band von Neil Young, The Beatles, Electric Wizard oder The Kinks beeinflusst.
Limitiertes, dunkelgrünes Vinyl!

LP-Reissue des letzten Studioalbums, ursprünglich 2018 veröffentlicht!
Die Gruppe spielt eine Mischung aus Doom Metal und Psychedelic Rock der 1970er-Jahre, wobei die Gitarrenriffs an Black Sabbath erinnern. Des Weiteren wurde die Band von Neil Young, The Beatles, Electric Wizard oder The Kinks beeinflusst.
Limitiertes, dunkelgrünes Vinyl!

Der renommierte Troubadour aus Illinois erweitert seine musikalische DNA mit Covers Vol. 2, die tiefgreifendste persönliche Musikreise, die er je unternahm. Zuhörer werden mit mitreißenden Interpretationen von Klassikern von Billy Joel (Vienna), Bruce Springsteen (Streets Of Philadelphia), James Taylor (Fire And Rain) und Peter Gabriel (In Your Eyes) sowie Indie-Perlen von Radiohead (Weird Fishes), JP Saxe (A Little Bit Yours) und Manchester Orchestra (Sleeper 1972) verwöhnt. Ebenfalls enthalten sind einige unerwartete Darbietungen wie Jeremy Zucker (Scared), Del Amitiri (Tell Her This) und Go West (King Of Wishful Thinking). William Fitzsimmons: 'Leute, die meinen Katalog kennen, wären wahrscheinlich überrascht zu erfahren, dass ich tatsächlich ein ziemlich großer Fan von Popmusik bin. Von der Brillanz der Beatles und den Beach Boys bis hin zu den moderneren Stilrichtungen von Harry Styles, Beyoncé und Taylor Swift – ich genieße eine eingängige Melodie genauso wie jeder andere.'

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

THE LEGENDARY 1980 ALBUM REMASTERED FROM THE ORIGINAL TAPES.
• 2LP SET WITH 12” X 12” BOOKLET.
• INLCUDES THE PREVIOUSLY UNRELEASED ‘COMS 1-3 RDX SUITE’ (TAKEN FROM THE ‘COMMERCIAL
ALBUM’ MULTITRACK TAPES).
• PRODUCED WITH THE RESIDENTS AND THE CRYPTIC CORPORATION.
• THE SEVENTH IN A SERIES OF VINYL RE-ISSUES OF THE RESIDENTS’ CLASSIC 70S ALBUMS.
Formed in the early 1970s, The Residents have now been charting a unique path through the
musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we
present an expanded vinyl edition of the classic 1980 LP ‘Commercial Album’.
Following almost a decade spent attempting to redefine what pop music could be, but with zero
hit singles to show for it, The Residents finally caved and produced their own pop music album as
the 80s dawned. But rather than have each song repeat the same minute of music three times as
per the traditional pop format, The Residents produced no less than 40 one-minute pop
masterpieces, and invited the listener to do the repeating bit themselves if they felt the need.
The resulting ‘Commercial Album’ both showcased the incredible depth of the group’s musical
palette and proved definitively that they could easily be as big as The Beatles if they wanted to.
Probably bigger, actually.
Featuring a breathless collage of toe-tappers, memorable melodies, instrumental experiments
and guest performers (Fred Frith, Chris Cutler and XTC’s Andy Partridge among them), the
record has since acquired legendary status among both fans and confused onlookers alike.
Alongside the original album, this 2LP edition presents the ‘COMS 1-3 RDX Suite’ – a brand new
interpretation of (almost) the entire album, produced by the group using the original multi-track
tapes – and a brand new sleevenote essay shedding new light on the album’s production.
‘Commercial Album’ is the latest in The Residents’ extensive ongoing pREServed series – expect
more throughout 2023 and 2024. Possibly even 2025 too, the way things are going.

The very first vinyl edition of Andrew Gold’s pastiche
psychedelic masterpiece ‘The Fraternal Order of the All –
Greetings from Planet Love’.
Initially released in 1997, the album was conceived by
Andrew Gold as a tribute to late 60s psychedelic rock. His
remarkable compositions were wonderful stylistic
evocations of artists such as The Beatles, The Beach
Boys, The Byrds and The Doors.
The project saw Gold create the fictitious band The
Fraternal Order of the All, in reality Andrew playing
most of the instrumentation and singing, along with guest
musicians such as Graham Gouldman.
This Esoteric Recordings limited edition double LP is
pressed on 10-inch coloured splatter vinyl and features a
newly designed lavish gatefold sleeve.

Rolling up on Leipzig’s finest disco emporium, Riotvan, Mexican sensations Kalexis and Paulor make their debut with a fresh four track selection on their ‘In Between’ EP.

Well, ok. Not strictly a debut. Our Mexico maestro, Paulor, did feature on the third instalment of our Familiar Faces series back in 2020, and now he’s back, as one half of our new cosmic couple. As resident DJ of the legendary Futuro Primitivo he has soundtracked the nights for so many and showcased his own music on Life And Death, DGTL, Kompakt and more.

Partner-in-shine, Kalexis. A supreme selector. Deadly behind the decks and an artist who finally cut her production teeth with 2021’s ’Neptune Rising’, now readies her latest work… Right here on Riotvan.

The pair ease us in with the beatless opener ‘Going Through The Void’, before hitting us square in the chest with the growling stomp of ‘Energy’. On the flip they entice with the electrified folk feels of ‘Lashes’, before the rotor-blade drone of ‘Magnetic’ closes the EP.

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.