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17 Track compilation of all of their studio recordings, remastered and pressed on Electric Blue Vinyl. Presented in gatefold sleeve with never seen before photographs ,a printed lyric inner sleeve and poster.
The VIP’s were formed in 1978 while at Warwick University. Within weeks they were gigging at clubs in the Midlands, often on the same bill as THE SPECIALS in Coventry. Soon they found a manager, Clive Solomon, who with Timmy Mallet (now a TV and Radio presenter) and both students at the university, financed the group’s first single the EP ‘Music For Funsters. In the summer of 1978 they built up a loyal following in London. The single was picked up by John Peel, who played it constantly on his BBC radio show through the year. The 3 track EP, featuring ‘I’m Perfect’, ‘I Believe’ and ‘Boys of the City’ was released on Clive Solomon’s own ‘Bust’ label.
In 1979 the VIP’s could be found playing all over the country, frequently on the same bill as Squire, stablemates on Clive Solomon’s label.
In early 1980 they went into Olympic Studios in Chiswick to record some tracks with ex-THE ANIMALS bass player and SLADE/Jimi Hendrix manager Chas Chandler. The track ‘I Thought You Were My Friend’ was recorded at these sessions A few weeks later a major record deal was agreed with Gem Records/RCA and ‘Causing Complications’ came out in March. To coincide with the release the VIP’s went on tour supporting SECRET AFFAIR.
After the tour the single ‘The Quarter Moon’ was released, another track produced by Mike Leander. It received extensive airplay around the UK and beyond, and was also picked as BBC Radio 1’s Record of The Week by DJ Mike Reid on his Morning Show, as well as being Radio Luxembourg’s ‘Power Play’ for two weeks. The constant touring, recording and radio play had earned them a spot on Top of The Pops but they were suddenly told -on the afternoon that they were due to appear - that an industrial dispute at the BBC had resulted in the show being cancelled. Disappointed, they continued to record and tour, this time with MADNESS, THE BEAT and DEXYS MIDNIGHT RUNNERS amongst others. This time Bob Seargent (of The BEAT and HAIRCUT 100 fame) was recruited to give ‘Need Somebody To Love’ that sparkle and edge to capture The VIP’s live sound on vinyl. Although perhaps the most representative of the band’s sound, Top of The Pops again eluded them.
By the end of 1980 the VIP’s were selling in Spain, Germany, Italy and France through the RCA label but they seemed to be losing heart with the business. Illness -Jed had been touring with a collapsed lung - and tensions saw the band play their last concert at Leicester University. A fourth and final GEM single, ‘Things Aren’t What They Used To Be’ (a song taken from their earlier Mike Leander recording sessions) proved to be their last. With several songs still to be recorded, it was a frustrating time for all.
Paul Shurey and Guy Morley has already made alternative plans for THE NEW VIP’s and recruited Simon Smith from THE MERTON PARKAS to play drums while Paul returned to his native keyboards. With Tony Conway on guitar and Andy Godfrey on bass they became MOOD SIX.
Paul Shurey played a central part in the birth and proliferation of the Rave movement in the 80’s, 90’s and 2,000’s, initiating a great a great many DANCE RAVES all around the world. Very sadly he died in 2017. He was also a gifted artist/cartoonist, and it’s his picture which graces the album’s sleeve. He is a brother very greatly missed.
Guy Morley works in film editing and Andrew Price is involved in developing community projects in and around his native Bristol.
“We became lifelong friends and shared a great and very exciting rock and roll dream.”

Dizzy Gillespie: Dizzy Gillespie At Newport 1957 180g. Limited Edition
High-Definition Premium Vinyl Pressing “Dizzy Gillespie’s second great big band at the peak of its powers. This brilliant album captures one of the high points of Dizzy’s remarkable career and is highly recommended.” (Scott Yanow)
DIZZY GILLESPIE & His Orchestra:
Dizzy Gillespie, trumpet & vocals; Lee Morgan, E.V. Perry, Carl Warwick, Talib Ahmad Dawud, trumpets; Melba Liston, Al Grey, Ray Connors, trombones; Jimmy Powell, Ernie Henry, alto sax; Billy Mitchell, Benny Golson, tenor saxes; Pee Wee Moore, baritone sax; Wynton Kelly, piano; Mary Lou Williams, piano on B4 only replacing Kelly; Paul West, bass; Charlie Persip, drums.
Recorded live at the Newport Jazz Festival, Newport, Rhode Island, July 6, 1957.
Original recording produced by Norman Granz.

“Maestro melodist Christophe Petchanatz (aka Klimperei) and all around music fanatic David Fenech engage remotely in a repetitive exchange of recordings and overdubs on their debut album titled ‘Rainbow de Nuit’, sporadically spanning over the last decade. Evocations of experimental and improvised jazz, chansonesque songs, bluesy folk, and outsider music undulate harmoniously across the record. From music boxes and walkie-talkies down to plastic straws, plucking various stringed instruments such as the charrango and banjo, kazoos and snake-charmer ocarina and flutes, all the way through the sweet accordion and melodica, found and traditional tuned percussion - there is far from a shortage of sound sources on this freakishly inviting record. What germinates as an imaginative and emotional chord progression played by Klimperei, evolves with Fenech layering additional recordings, which would then find their way back home to Klimperei yet again, and so on, and so forth. This recursive compositional and improvisational loop, combined with Fenech’s musique-concrete-like mixing and editing techniques, transforms the acoustic recordings by way of compression, saturation, and reverberation or simple pitch changes - resulting in the duo’s recordings seemingly sound like they may very well be an octet in real time. While the majority of the recordings have been ping-ponged remotely, David and Christophe unite under one roof to record the closing track of the album.

The pieces presented on ‘Rainbow de Nuit’ treat the ears to a carousel ride waltzing through a multiverse made up of surrealist puppet theaters, dramatic film noir act changes, and a mosaic of polyphonic instruments and toys alike. In other words, a score to a fable brought to life with haunting yet charming melodies and occasional hallucinatory voices reminiscent of laughter and infantile epiphanies which we hear on Tarzan en Tasmanie and Madrigal for Lola. This is taken a step further by Fenech, to a brief libretto of incomprehensible tongues on Pocarina. Amid the mysterious and dark (Septième Ciel and Rugit Le Coeur) also lies tender and simple compositions (Rainbow de Nuit and Chevalier Gambette), murky suspenseful melancholy (Levy Attend and Eno Ennio), and casually slipping into pensive psychedelic backdrops (Un Cercueil à Deux Places) - forming a colorful blend of sounds. A world of echoes. A tale of tales. One persistent earworm that you’ll likely be whistling and humming along to on a first listen.”

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Original Score Composed By Nigel Godrich)
• 2xLP
• First time released on vinyl
• Blue colour vinyl
• Social Support from Edgar Wright (Director) & Beck

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Seven Evil Exes Limited Edition)
• 4x LP picture discs
• Limited Edition Set
• Exclusive bonus tracks not included on original soundtrack by Sex Bob-omb, Beck, plus highly sought- after Brie Larson w/ Metric
• Social support from Edgar Wright + Beck
Bonus ephemera: 
 • Full colour film poster
 • Exclusive Colouring Page by Bryan O’Malley
• Printed note from Edgar Wright, Director

On August 20, 2020 the world lost an amazing
light with the passing of Justin Townes Earle.
Justin was a vibrant songwriter who could play the
blues, country and rock ‘n’ roll all in the same
song. In his short career, Justin released eight
albums and one EP that all manage to sound
classic and yet inventive.
Justin’s father, Steve Earle, pays tribute to his son
by recording ‘J.T.’, an album of songs written by
Justin. The album consists of ten Justin Townes
Earle songs as well as one song written by Mr.
Earle shortly after Justin’s passing.
‘J.T.’ features fan favourites such as ‘Harlem River
Blues’, ‘Far Away In Another Town’ and
‘Champagne Corolla’, along with lyrically heavy
songs like ‘The Saint of Lost Causes’ and ‘Turn Out
My Lights’.
‘J.T.’ is a loving tribute to a loved son and beautiful
songsmith who left this Earth too early. But in his
wake, Justin left a wealth of beauty.

The variety of Kühn’s pianism in this collection is
quite remarkable.
The listener is first welcomed into the inviting,
comforting and regular pulse of Mal Waldron’s
‘Warm Canto’. And yet later, by complete contrast,
Kühn’s own composition ‘Sintra’ gives a
masterclass in freedom, delay and the alchemical
art of keeping the listener waiting on tenterhooks.
Prince’s ‘Purple Rain’ is achingly soulful, whereas
Kühn found the encouragement to revisit Bill
Evans’ ‘Peace Piece’ from the dignity and restraint
of classical pianist Igor Levit’s version.
LP pressed on 180g vinyl.

Nearly three years on from that release (for Bernice a rapid turnaround by comparison to the seven-year gap between their 2011 debut and Puff), the band return with their third full-length, Eau de Bonjourno, out March 5th from Telephone Explosion and figureeight records. It marks their first collaboration with producer Shahzad Ismaily, the acclaimed multi-instrumentalist who has worked with artists as varied as Laurie Anderson, Lou Reed, Elvis Costello, Iggy Pop, John Zorn, and Bonnie ‘Prince’ Billy. While their genre reconstruction remains distinctly Bernice, Dann’s lyrics bring a newfound focus to storytelling in the present moment, compassionately meeting ourselves where we are, and finding joy in spaces that are familiar but ever changing.

Eau de Bonjourno, according to Dann, “openly plays with the shape of a pop song,” drawing on the band members’ backgrounds in jazz, subverting rhythmic formulas, and resting in grooves that sit just outside of predictable. Instead of letting instruments take

extended solos, the tone is set on opener “Groove Elation” with brief blurts of synthesized sax, patient passages of space, or clusters of beats, tenderly held together by Dann and Williams’ intimate vocals. The album’s sound is experimental in its truest definition, chopped up like musique concrète and then delicately placed back together with the loving touch of a scrapbook collagist.

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.

This album was created with the generous support of the Ontario Creates.

To celebrate their first decade of existence, Sunderland’s ironic punk trio, Toy Dolls, issued
retrospective Ten Years Of Toys, but rather than using the standard-issue “Greatest Hits”
formula, the group chose to re-cut nuggets from their career so far, using the then-current
line-up of frontman Olga, bassist Dean Robson and drummer Martin Yule. Thus, tracks like
“Dougy Giro,” “Fiery Jack” and “Glenda And The Test Tube Baby” are given new leases of
life with a brighter, fuller sound and the inclusion of hard-to-find tracks such as “I’ve Got
Asthma” and “Tommy Kowey’s Car” add to the appeal.

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko— Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs. Featuring heavily playlisted hits like “White Lines” and “Keep It Close,” Bones Owens came to life at The Smoakstack in Owens’ adopted hometown of Nashville. With production from studio owner Paul Moak—a five-time Grammy Award nominee who’s also worked with Joy Williams, Marc Broussard, and The Blind Boys of Alabama. “This album really came from opening for some good people over the last few years, from feeding off that energy from the crowd and wanting to write more songs that would feel exciting to play live,” says Owens, who’s recently toured with Reignwolf and Whiskey Myers. “It felt like the right approach to keep the production simple and record everything to tape - I think it creates a good type of nervousness that brings out the best in everyone. Nobody wants to be the one to mess up the take. Besides, all my favorite records were made that way. You can’t fake that sound.”

‘Dekalb Works’ is the collaborative project of Austin Peru (Vision Fortune) & Daniel Creahan (Sweat Equity / Alien D). Born out of a shared deep sociological interest of dialects and cultural frameworks, and the effects these have on meaning within modes of speech, the pair here delve into the dialects of their own beginnings, mining US/British regional accents and weaving these situational scenes through a textured, intentionally disjointed, hand made soundscape of bass tension and fleeting, glistening melody – adding additional layers of emotion and meaning to everyday observations of language.

‘Duologue’ intends to blur the lines between perceived and constructed reality, occupying a gauzy, dreamlike space shared by the likes of Hype Williams & James Ferraro, where foggy sonars & deep subs provide the backbone to both eccentric and mundane ephemeral flutters of dialect.

‘Duologue’ revels in its variance of linguistic stylings – from the deep US south religious lament of ‘of a’ hovering above an ambience of Zither & Bells, to the doom laden sax skronk and vocal stutter of ‘with’, to the creeping stripped micro dub of ‘only’ which allows the familiar hue of the British news reader and typical West Midlands dialectical moments to clash – aptly documenting of an impending collision.

This is certainly one for heads into all things slow & spacious - for sure there’s a lot to digest and get lost in here across the records quite intentionally intoxicating ark, where touch points and historical nods range from Laraaji’s signature ambience to Ernest Hood’s visionary ‘Neighbourhoods’, filtered through modern outer sound explorers such as John T. Gast, Mark Lecky, and the bass minimalism of SND.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

Okocha Records sendet Grüße aus „Jazzenatico“ und nimmt euch mit auf eine musikalische Reise an der italienischen Adria entlang. Nehmt euch eine kurze Auszeit und genießt den sonnigen Tag am Strand von "Jazzenatico" mit harmonischen Melodien und warmen, jazzinspirierten Instrumentals von u.a. FloFilz, Wandl, Wun Two, Twit One, digitalluc, Melodiesinfonie uvm.

Columbus, Ohio’s Rudolph Johnson drew comparisons to John Coltrane during his career; like the jazz legend in his later years, Johnson eschewed drugs or alcohol and spent his time every day either meditating and rehearsing on his horn. You can definitely hear
a little bit of Coltrane in Johnson’s playing on this, his 1971 debut release for the Black Jazz label, the first of two he recorded for the
imprint and the first he recorded as a leader after some sideman work (most notably for organist Jimmy McGriff); his ability to explore the upper registers and overtones of his tenor sax while retaining control is quite striking. Of course, this being a Black Jazz release, along with the bebop sounds of “Sylvia Ann” and the mid-‘60s Blue Note stylings of “Sylvia Ann,” there’s the soul jazz of “Diswa” and the groove funk of “Devon Jean,” all played by, as is typical on Black Jazz releases, by top-notch sidemen including drummer Raymond Pounds, who’s layed
with everybody from Stevie Wonder to Pharoah Sanders to Bob Dylan, and pianist John Barnes, whose work is very familiar to Motown fans (Supremes, Temptations, Marvin Gaye). Bassist Reggie Jackson, who appeared on the Walter Bishop, Jr. Coral Keys record we previously released, rounds out the quartet. First vinyl reissue of another stellar Black Jazz release!

It was 1977, there may well have been “knives in West 11”, but at a student’s hall of residence in Leicester, a packed room of cross legged intellectuals were about to witness the debut of The Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny ‘Guitar’ Hawkins on guitar and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners.
The four-piece became five with the addition of Dave Henderson from The Blazers, a chirpy power pop punk quintet, who were part of a burgeoning scene in the city that included The Foamettes, Dead Fly Syndrome, Wendy Tunes, The RTRs, Robin Banks And The Payrolls and many more. Wine bars, canteens and bowling alleys in pubs were the home of this phenomenon until Subway Sect and The Lou’s arrived for The Great Unknown Tour. They needed a local band for support and the Disco Zombies obliged.
Record Shop owner - and now Mayor Of Mablethorpe - Carl Tebbutt was keen to ride the punk rollercoaster and decided to launch Uptwon Records with a Disco Zombies EP. Recorded in Chester in one four hour session, it included The Blazers’ ‘Top Of The Pops’ and Andy’s ‘Time Will Tell’, ‘Punk A Go Go’ and ‘Disco Zombies’.
Carl had done a deal with a one-stop music production company who went bust almost immediately and the record was shelved. Unperturbed the band pressed on and recorded a session at the local radio station, ‘TV Screen Existence’ being the only track that survived. A tour of Leicester – five pubs in five days – was the end of that era and the band without Johnny ‘Guitar’ who had another year to do at Uni, relocated to London taking with them The Foamettes’ guitarist Steve Gerrard who wisely returned to Leicester and become part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognised line up of The Disco Zombies for several years, playing lots of London gigs from The Hope And Anchor to The Moonlight Club, North London Poly to the Scala.
By 1978, there was an eruption of small DIY indie labels and Andy Ross launched South Circular Records to release the band’s debut single, ‘Drums Over London’ - an ironic stab at people’s hostility to the arrival of other cultures, a piss-take of Spear And Jackson-wielding Tory attitudes. John Peel played it regularly until Rock Against Racism complained even though Peel explained that it was actually supporting their views. Ho hum. South Circular wasn’t to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies’ single and regain momentum. ‘Here Comes The Buts’ was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was greeted with great enthusiasm in some quarters, although strangely it was likened to The Cramps meets Neil Young in NME.
Dining Out was always just one step ahead of going out of business and even though the follow up had been recorded - ‘The Year Of The Sex Olympics’, backed with ‘Target Practice’ and ‘New Scars’ – it never saw the light of day as the money finally ran out.
Somehow, Dining Out had a second lease of life and Andy wanted to record a new track for a new release amid 45s from The Sinatras, New Age and Spit Like Paint. By now, the Zombies had been through their dark post punk phase and ‘Where Have You Been Lately Tony Hateley’ was a clever upbeat anthem which told the tale of the nomadic footballer. The test pressing gained many Peel minutes but by the time it was ready to release, the band had finally split up. It eventually saw the light of day on the Cordelia label’s ‘Obscure Independent Classics’ album. Very fitting.
So, it was 1980: Mark Sutherland opened a studio in Bow, Dod got a day job, Andy Fullerton already had one. Andy and Dave went a bit experimental in Club Tango; Andy eventually discovering Blur for Food which he started with The Teardrop Explodes’ David Balfe, while Dave flirted with Worldbackwards.
In 2011, the drum machine line up descended on Mark’s studio, rehearsing for a show at the Bull And Gate. They recorded two of their lengthier tracks – ‘Night Of The Big Heat’ and ‘LHO’ powered by a waning Dr Rhythm – these were pressed as an extremely limited edition ten-inch. A few years later Andy Fullerton returned to the fold recording three more originals ‘Hit’, ‘Lenin’s Tomb’ and ‘Paint It Red’ for an even more limited edition ten-inch in 2018 and a show in October that year at The Dublin Castle.
Since then, meandering lunchtime discussions in restaurants that were popular in the ‘70s (Joe Allen, Café De Pacifico, etc) have led to arguments about the lost tracks – ‘Man From UNCLE’, ‘I Need You Like I Need VD’, ‘Throwaway Line’, ‘I Thought You Were Only Joking’, ‘London Nights’, ‘Cosmetics For China’, ‘When Doo Wop Hit Hampstead’. It’s only a matter of time. Until then.....

Rachel Baiman’s ‘Thanksgiving’ EP is a collection of music to inspire an introspective holiday spirit. The songs center around themes of Indigenous Rights, home and homelessness, and love in hard times.
Baiman called upon her superb live touring band (Cy Winstanley, Shelby Means) in addition to special collaborators including flatpicking guitar master Molly Tuttle, who features prominently on a spirited John Hartford cover, “Madison Tennessee” to bring these
thoughtful songs to life. ‘Thanksgiving’ allows Baiman space to stretch out stylistically and marks an intriguing followup to her celebrated full-length debut ‘Shame’.
Baiman moves with ease from bluegrass, to folk, to old-time and country sensibilities over the course of these four tracks. Her adept lyricism is again on full display, as she sheds new light on the complex, bittersweet feelings of both hardship and hope that often intertwine around the holiday season.

This reissue of ‘Stan Getz Meets Oscar Peterson’ includes one bonus track from the same session produced by Norman Granz in 1957. With Getz on tenor saxophone and Peterson on piano are guitarist Herb Ellis and bassist Ray Brown.
The specially prepared liner notes are by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Even though summit meetings don’t always end up with the expected results, this one, on the contrary, marks the blend of one of the most beautiful saxophone sounds in history with the most dazzling bouquets of notes ever imagined on a piano keyboard.” Jazz Magazine

This 180 gram red virgin vinyl LP reissue of the 1958 Bluenote album ‘Art Blakey and the Jazz Messengers’ includes bonus tracks recorded live at the Olympia, Paris with the same personnel, also in 1958.
Together with Art Blakey on drums the line-up includes Lee Morgan on trumpet, Benny Golson on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass .
The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.