Cerca:cadillac

Bass: Sam Jones
Cello, Bass: Isao Suzuki
Drums: Billy Higgins
Electric Guitar: Kazumi Watanabe, Kazumasa Akiyama
Recording & Remix Engineer: Yoshikane Okada
Executive Producer: Toshinari Koinuma
Piano, Electric Piano, Fender Rhodes: Cedar Walton

A gem of a crossover album from Isao Suzuki, who has continued to lead the Japanese jazz scene as a bassist.
Capturing the vibrant energy of the 1970s, this record has been rediscovered by club music aficionados and rare groove collectors alike.
The album fuses Van Morrison–like bluesy grooves with deep funk and jazz sensibilities, along with a uniquely Japanese melodic sense.

Underground hip-hop icon and Miami rapper Pouya kicks off 2025 with his seventh studio album, Suicidal Thoughts in the Back of the Cadillac, Pt. 3 - serving as an unofficial spiritual successor to his 2024 album, THEY COULD NEVER MAKE ME HATE YOU. After a successful run as direct support to $uicideboy$’ Grey Day 2024 Arena Tour, it’s clear that Pouya has cemented himself among the top artists from the alternative / cloud-rap scene from the mid 2010s. With a rabid fan base primarily built from the ground up, and without the flashy mainstream features or press looks, Pouya has established himself as a staying power in a lane that typically sees artists rise and fall in accordance with today's modern attention span. Continuing to super-serve his fans, Pouya will be embarking on a nationwide tour in North America in 2025.

On the outskirts of Bratislava, in the pulsating shadows of a refinery's burning chimneys, on the plot of a family house, there stood a small shack. Initially, it housed trials in domestic mushroom growing. Later, after a makeshift acoustic touch-up - lining the walls with old cardboard egg cartons - it became a shelter for music. Sensitive, evocative, nostalgic, lo-fi music by a man named Cadillac Face.

Today we would probably use the term 'safe space', but back then it was (in Cadillac's words) kutica, a cubbyhole. He hid there from a world that ached. Here, Cadillac secretly smoked, sang, and composed. And tried not to go crazy from anxiety. He wrote music unlike anything during his time.

Here, he struggled. With sound (unable to adjust it to his liking), with instruments (which he couldn't bring himself to play), with the world (with which, understandably, he was at odds).

Cadillac Face was a man who didn't belong here.

He wrote and sang in English (in a post-socialist and early-capitalist Slovakia, when command of English was no matter of course); he also wrote in Slovak (blogs and diaries, which, due to a stream-of-consciousness and surrealist style, were as incomprehensible as they were immersive and intimate); gave advice to teenagers (to their quasi-banal questions on talking forums about relationships, life and adolescence, where they were often met with ridicule and mockery); he composed electronic and noise music (at a time when no one had a clue what the abbreviation DAW meant).

This Cadillac's compilation album is not aiming to compete with/replicate Noizy Days - a compilation of Cadillac's contributions to the project Noize Konspiracy. Underground compilations circulated through a local proto-social network. Borderline music without rules - open but often inaccessible. There, Cadillac contributed mostly with experimental-electronic compositions. Noizy Days was compiled by Ďuro Ďurček, one of the initiators of Noize Konspiracy. Both Ďuro and Cadillac have been dead for years.

Songs For The Trees is a selection from Cadillac's songwriting. The most intimate of his intimate recordings. Cadillac at his most fragile, brittle, and quiet. The most romantic, the most tormented, the most painful and direct of his songs I know.

Cadillac became an anthropomorphic grotesque tree. Neither broadleaf nor conifer. Or perhaps it's a candle slowly incinerating – bored, sad, playing the guitar. A tragicomedy. Sometimes it kindles what it doesn't mean to, and it can't put itself out. Or can it?

Das Country Fuzz Trio The Cadillac Three haben mit ihrem unverwechselbaren Sound einen bleibenden Eindruck bei Fans auf der ganzen Welt hinterlassen. Jetzt sind die zurück mit ihrem sechsten Studio Album „The Years Go Fast“. Ihre Genre-Fusion Tracks wurzeln in Country-Storys, Rock-Grooves und psychedelischen Jams.

„The Years Go Fast“ ist ein Statement über große Veränderungen, aber auch darüber, wie Freundschaft, Liebe und Familie Anker sind, wenn alles auseinander zu fallen beginnt.

Die Arbeit von TC3 hat dem Trio eine Reihe von Auszeichnungen eingebracht, darunter Nominierungen für den GRAMMY. Das Album „The Years Go Fast“ ist in Form einer CD und einer Vinyl erhältlich.

Newly remastered from the original vinyl at Gearbox Studio with extended
liner notes and new information, The Joe Harriott Quintet’s ‘Swings High’,
recorded in 1967, saw Joe returning to his hard bop roots on a set that
burns with a rare light
A top band of British jazz players, including the UK’s greatest drummer, Phil
Seamen, and the sensitive and less-known-than-it-should-be trumpet playing of
Stu Hamer, create a session that transcends the difficulties of its recording to
create a timeless session, and from the point of view of pure playing, one of Joe’s
very best.
Joe Harriott: alto saxophone
Coleridge Goode: bass
Phil Seaman: drums
Pat Smythe: piano
Stu Hamer: trumpet
“Joe plays so fiercely on the record that at times it seems as though he’s about to
blow his alto apart.” - Coleridge Goode
“Shepherd's Serenade always a big one! great reissue.” - Gilles Peterson
"Some might say that this music is old- fashioned. If you’d call Bird and Fats
Navarro playing “Ornithology” old-fashioned, then this is too. But it’s still strong,
warm music played with skill and feeling, and that’s enough for me." - Richard
Williams (1970)

Kevin Le Gendre, journalist, presenter, author, fell in love with Finnish
music following his many visits to the rich musical festivals of that
country, so it seemed a logical step to compile an album of the best
Finnish music for his long-running, occasional series of albums based on
the radio show that he presented some years ago
. 'Fresh from Finland' joins critically acclaimed collections of contemporary Jazz,
French music and fusion sounds. It's a powerful selection of music rooted in jazz
but from a number of different genres, often, as the best music is,
uncategorisable.

Death Drives A Cadillac was Spike In Vain’s second
album, never officially released and unheard in its final
form until now. Like many hardcore bands circa ’84 and
’85, the group was ready to further expand its palette and
ease off the thrash tempos. Recorded roughly a year after
Disease Is Relative with a bigger budget, the album is even
more wide-ranging, and the songs are more fleshed out.
“Despair grew inside her, I grew inside her. She named
me Spirit Death, and this is my song” sings Chris Marec,
the vocalist on half of this LP. Though less “young” than
their debut, that album’s darkness lingers, but here has a
more removed, observational quality, with many songs
sung in character or in the third person, along with a
tendency for anthropomorphic allegory. It has a bit less to
do with screaming for death to come than with a growing
resignation to being the other, a recognition of inescapable
alienation and its relation to childhood trauma. —all with
a heaping side of absurdity and a sense of wonder at the
gradually unfolding endtimes.
That said, many of the tracks wouldn’t be out of place
on the debut, and some feature exotic tunings. Bits of roots
music come into play as well—gospel, blues, and country
figure to some extent in a third of the songs, sometimes
in convoluted, Beefheart-esque ways, and at other times
toying with genre archetypes as a cat does a mouse.

This new quartet recording by saxophone maestro Evan Parker is the first for many years to be released on vinyl. Parker, one of the great
post-Coltrane saxophonists, has played a monthly gig at the London club The Vortex, for a considerable time.
Evan called these events his ‘jazz’ gigs and it seemed that the trio’s performance came close to seeing Coltrane or Ayler playing at the 5 Spot or one of the legendary New York venues. When Cadillac asked Evan if he would record an album for the label, it was this aspect of his multifaceted talents they had in mind. The quartet you hear on this album (with Paul Lytton, John Edwards and Alexander Hawkins) came together for a gig at the Vortex in Evan’s regular slot on June 20th 2019, and what a fine gig it was!
Then the next day they relocated to the beautiful barn-like studio of Rimshot, deep in the Kent countryside to record the album. The location, close to Evan’s home, had other resonances, which journalist Chris Searle has described in his
sleevenote. The subsequent (and over long) process of mastering and producing the album coincided with the first Covid lockdown and the coincidence of Evan and Mike @ Cadillac both reading Defoe’s “Journal of the Plague Year”, which provided context and some track titles.
This put in mind of Stephen Fowler’s brilliant rubber stamp artwork, and he has created a visual representation that expresses many of the themes of the
album.

Ghettomania kicks off 2013 with Dancemania Hero Darien´s,
Labelowner Manatane, a cool electrobass tune by Kaptain Cadillac and Remixes from Jackstar Recordings artists Kamikaze and Paul Langley (Knee Deep, Tonewrecker).

Manatane strikes back with his new EP including Remixes from
Stephan Strube (Rage & Error MusicMiditonal, Fanatix) Umbertron
(Jackstar, Ghetto Division) and Kaptain Cadillac (Database, Booty Call).

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

- This four LP box set features some of the best studio recordings by Bill Wyman's Rhythm Kings, the ten-piece band that Bill
put together after leaving the Rolling Stones in 1992. Whilst the band features guest appearances by all-star musicians (including
Mick Taylor, Eric Clapton, Chris Rea, George Harrison,Gary Brooker and Peter Frampton on these recordings), it has an all-
star core line-up that features Georgie Fame, Beverley Skeete, Albert Lee, Terry Taylor and Bill Wyman himself of course.
- For this compilation, Bill Wyman has chosen forty three tracks that showcase the fantastic lead vocals of both Beverley
Skeete, perhaps the UK's busiest session singer, and Georgie Fame, a star (and legend) in his own right since 1964 of course.
- Each singer has two LPs: Georgie's features his renditions of songs by the likes of J.J. Cale, Mose Allison, Dan Hicks, and Bill
Wyman & Terry Taylor, while Beverley's features her take on songs by Nellie Lutcher, Screamin' Jay Hawkins, J.B. Lenoir and
The Rascals.
- This box set marks the first appearance of any Rhythm Kings recordings on vinyl. The four LPs are housed in an attractive rigid
outer slipcase and the inner sleeves feature all themusician credits.

For its premier release, Division Point Industries is proud to announce a 4-track EP by Rolling Ones, a collaborative project featuring Johannes Auvinen (Tin Man) and Jordan Poling (Jordan). Rolling Ones finds its voice in the synthesis of each artist's sound, combining Tin Man's acidic melodies with Jordan's deep, textural pads. Debuting at the Division Point Industries residency at Bushwick's notorious Bossa Nova Civic Club, Rolling Ones marked their arrival by playing a DJ back-to-back set. Opening the record is '93' Mustang', a muscular, no-nonsense roller built around deep wells of warm bass and slick-piston percussion. As it builds, Tin Man's signature acidic squelch dances in the remaining space, giving the track a sense of both life and depth. Next is 'Faded Delorian', an abyssal burner that refracts its ghostly tones around a panning labyrinth of crystalline synths. On the flip is 'Slammed Cadillac', a sinewy, stripped down stomper of clattering percussion and caustic 303s. 'Jacked Up Impala' finishes the record as a jacking acid tool. Founded by Jordan Poling, Division Point Industries is a new label built on the success of a collaborative residency with Cory James at Brooklyn's Bossa Nova Civic Club. Having hosted artists ranging from the established to the underground, Division Point Industries has crafted a no-nonsense take on deep house and techno that is rich in history while remaining focused on the future.

Teenage Drug is the second studio album by the Irish indie-punk band Sultans of Ping F.C, originally released in 1994. The album continues the band's established sound across its 14 tracks, focusing on tight song structures and arrangements.

The album builds on the band's energetic indie-punk style, with sharp guitar riffs and songs containing the band's playful approach to lyrics. It features the singles "Teenage Punks", "Michiko" and "Wake Up And Scratch Me" and established the band's presence in the mid-1990s Irish and UK indie scene.

Teenage Drug is available as a limited edition of 1000 individually numbered copies on translucent blue vinyl and includes an insert.

With Texas- sized defiance and drive, he's spent four decades flying the flag for his own brand of honky-tonk, outlaw country, western swing, and rockabilly. That signature sound has a name -- "Ameripolitan" -- and its originator is Watson himself: a singer, songwriter, guitarist, producer, actor, cultural architect, and rulebreaking traditionalist for the modern world, championing the traditions that fly in the face of the homogenous mainstream. With Unwanted, he fires another doublebarreled shotgun blast of country twang and honky- tonk bang fueled by the heartaches, hard- won lessons, and high- speed thrills of a life largely logged on the road. Singing with a booming voice that could cut through the chaos of a packed dancehall, Watson runs the show like a roots-rock ringleader. He salutes his vices on the galloping "Willie Waylon and Whiskey," reflects upon a lifetime of loss with the gorgeous ballad "If You Really Loved Me (Outlive Me)," and gets wistfully contemplative on "Life is Like a Song." Entirely written and produced by Watson, Unwanted is the sound of an Ameripolitan diehard with plenty of life left in the tank, speeding toward a horizon of his own making.

Bruce Springsteen's statewide ode Nebraska '82 is given ample extra space with a new expanded edition, as his 1982 acoustic masterwork is cast in renewed light by its use the forthcoming biopic Deliver Me From Nowhere, which documents the conception of the original album. Now with an extra 17 solo outtakes, including demos of 'Born In the USA' , 'Pink Cadillac', and 'Downbound Train', as well as the fabled Electric Nebraska sessions with the E Street Band, the new dubs illuminate the breadth of Springsteen's vision for a reconciled America, where Springsteen found much inspiration in the folk, literature and short stories of the heartland, particularly in those of Flannery O'Connor, childhood and young-adult memories. Notably, it was deemed by PopMatters to beo one of the first every DIY records made by a major artist, and soon sparked a DIY revolution by folk musicians the globe over.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

In the Middle of Nowhere is the fourth studio album by Modern Talking. It was released on 10 November 1986 in Germany and in other territories. The album contains the international hit single “Geronimo’s Cadillac”, which reached a top-5 position in Germany and Austria while entering the top-10 in many other countries including Switzerland, Sweden and Norway. The album also features follow-up singles “Give Me Peace on Earth” and “Lonely Tears in Chinatown” as well as fan-favorite “Angels sing in New York City”.

In the Middle of Nowhere entered the No. 1 position in Germany on 1
December 1986. After spending total of seven weeks within the top-10 in the German album chart, it eventually reached a gold status selling well over 250,000 units in Germany alone.

Here's a brand new EP for the italo lovers. Released for the first time
in 1982 on Full Time Production off-shoot Good Vibes, 4 M
International's "Space Operator" is repressed on hand-numbered limited edition vinyl on Mr Disc Organization!

This special EP includes the Techno producer Donato Dozzy cadillac
rhythms reshape and the vocal and instrumental versions of the record.

Spaced out disco electro. The mysteriously named 4M International was a side project of the production team behind the Italo group Trilogy ("Not Love", "Black Devil" etc). "Space Operator" is the only record the outfit recorded and is an ultra spacey, pitched down, cosmic anthem with a wealth of killer sound FX, synth washes and sinister vocoded voices inviting us to join them in some intergalactic space travel!

To celebrate the label´s 10th birthday the Ghettomania Crew is finally
back with a big pack of Chicago & Booty Madness !

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

Die frühesten Aufnahmen des legendären Singer-Songwriters Blaze Foley. Einfach, geradlinig und kraftvoll - ,Sittin' By The Road" enthält 12 Titel, die während Blazes ,Baumhaus"-Zeit in Georgia aufgenommen wurden. Die hier vorgestellten Titel wurden Mitte der 1970er Jahre auf Blazes heimischem Tonbandgerät aufgenommen, das er auf seinen Reisen zwischen Texas und dem ländlichen Georgia mit sich führte. Diese Songs zeigen Blazes Talent in seiner frühen Form. Das Album enthält mehrere Songs von Blaze, die heute als Klassiker gelten, darunter ,Cold, Cold World", ,Election Day", ,Clay Pigeons" und ,If I Could Only Fly". Das Album enthält außerdem drei Songs von Foley, die auf keiner anderen Aufnahme zu finden sind: ,The Way You Smile", ,Fat Boy" und der Titelsong. Als Blaze 1989 auf tragische Weise ermordet wurde, war er außerhalb der Kreise der rebellischen Songwriter von Austin kaum bekannt. Heute wird er als einer der großen Songwriter von Texas verehrt. Townes Van Zant und Lucinda Williams haben beide bewegende Hommagen an Blaze geschrieben. Seine Songs wurden von John Prine, Merle Haggard, Lyle Lovett, Billy Strings und Willie Nelson gecovert.

Die frühesten Aufnahmen des legendären Singer-Songwriters Blaze Foley. Einfach, geradlinig und kraftvoll - ,Sittin' By The Road" enthält 12 Titel, die während Blazes ,Baumhaus"-Zeit in Georgia aufgenommen wurden. Die hier vorgestellten Titel wurden Mitte der 1970er Jahre auf Blazes heimischem Tonbandgerät aufgenommen, das er auf seinen Reisen zwischen Texas und dem ländlichen Georgia mit sich führte. Diese Songs zeigen Blazes Talent in seiner frühen Form. Das Album enthält mehrere Songs von Blaze, die heute als Klassiker gelten, darunter ,Cold, Cold World", ,Election Day", ,Clay Pigeons" und ,If I Could Only Fly". Das Album enthält außerdem drei Songs von Foley, die auf keiner anderen Aufnahme zu finden sind: ,The Way You Smile", ,Fat Boy" und der Titelsong. Als Blaze 1989 auf tragische Weise ermordet wurde, war er außerhalb der Kreise der rebellischen Songwriter von Austin kaum bekannt. Heute wird er als einer der großen Songwriter von Texas verehrt. Townes Van Zant und Lucinda Williams haben beide bewegende Hommagen an Blaze geschrieben. Seine Songs wurden von John Prine, Merle Haggard, Lyle Lovett, Billy Strings und Willie Nelson gecovert.

Acclaimed experimental hip-hop artists Pink Siifu and Turich Benjy are thrilled to announce the release of a limited edition vinyl of their groundbreaking 2023 collaborative album, IT’S TOO QUIET..’!!. This exclusive pressing includes six previously unreleased bonus tracks, offering fans an expanded auditory journey through the duo's innovative soundscape.

Originally released on October 31, 2023, IT’S TOO QUIET..’!! was lauded for its genre-defying fusion of underground hip-hop, alternative trap, and electronic influences. The album showcases Pink Siifu's visionary artistry and Turich Benjy's dynamic versatility, creating a sonic experience that is both immersive and boundary-pushing. The project fea-tures collaborations with notable artists such as Nick Hakim, WiFiGawd, Vayda, Lance Skiiiwalker, and Kamilah, among others.

Critics praised the album's eclectic production and cohesive vision. HipHopDX noted that "IT’S TOO QUIET..’!! is a grab bag of deliriously joyful rap songs that span all sorts of popular subgenres," highlighting the album's ability to blend diverse musical elements seamlessly. In Search of Media commended the album's high energy and eclectic sound, stating that it "combines both their skills as emcees poignantly."

In addition to the original 17 tracks, this special release includes six unreleased bonus tracks, providing listeners with new material that delves deeper into the duo's creative synergy. All packaged in a beautiful 2LP vinyl in gatefold sleeve — don't miss out!





[d] A4. lookin..’!![gorgeous] featuring WifiGawd, Vayda produced by Tony Seltzer, iiye

Smith & Liddle are two young artists from the North of the United Kingdom who have never been to the desert and whose mere existence was a long way off the horizon in the 1970s, yet their music wouldn't be out of place on the FM waves in a Cadillac driving through the California desert at that time.

"Songs For The Desert" is Smith & Liddle's debut album, a collection of great songwriting, beautiful harmonies and wonderful musicianship that also offers an unashamedly a large dose of nostalgia harking back to some of the best eras there ever was.

These songs were created during one of their hometowns rainiest year, offering the duo an escape via their creations, dreaming of being transported to California at a time when the music scene there drifted from legendary stars of Laurel Canyon to the soft rock icons of Fleetwood Mac and The Doobie Brothers.

Elizabeth Liddle & Billy Smith grew up 25 miles away from each other in small towns but only met when Billy was on the lookout for a vocalist years later. The chemistry between the pair was instant, and over time their intertwined musical sensibilities evolved into something unique.

Following years of swapping records and building a transcendent musical connection, Smith & Liddle worked alongside producer Josh Ingledew to record 9 songs that blend Soft Rock, West Coast soul & 60s beats to produce their debut album "Songs For The Desert".

Ramirez returns with THA PLAYA$ MANUAL II, the long-awaited sequel to his cult classic that helped solidify his place as one of underground rap’s most distinctive voices. Steeped in Southern-fried funk, Bay Area swagger, and Memphis-style menace, this new chapter finds Ramirez sharper, smoother, and more seasoned—delivering game like a streetwise sage with a gold grill grin.

Where the original Playa$ Manual was gritty and raw, THA PLAYA$ MANUAL II sounds like a player who's leveled up. The beats knock harder, the flows glide slicker, and the game is deeper. Ramirez weaves tales of betrayal, come-ups, late-night drives, and cold-hearted reality with the same charismatic cool that made him a standout in the $uicideboy$-adjacent G59 movement—but this time with a more refined, cinematic approach.

From trunk-rattling bangers to syrupy smooth cuts that soundtrack late-night escapades, THA PLAYA$ MANUAL II feels like a ride through Ramirez’s world with tinted windows up and the bass on max. It’s a record for the hustlers, the heartbreakers, the loners, and the legends in the making.

This is more than a sequel—it’s a statement: the playa’s still active, and the manual’s been updated.

Get ready to trim your tree with a rollicking mix of mid-century Rhythm & Blues holiday gems. This vinyl is packed with everything from soulful longing to boisterous celebration, featuring legendary artists like Charles Brown's heart-wrenching "Please Come Home for Christmas" and the Dominoes' gorgeous "Christmas in Heaven" with a young Jackie Wilson on vocals. Dive into the bluesy mischief of Jimmy Butler's playful "Trim Your Tree" and the fiery gospel of Marvin Williams' "When Was Jesus Born." From the sweet soul stomp of Big Dee Irwin & Little Eva's "I Wish You a Merry Christmas" to Lightnin' Hopkins' funky "Happy New Year," each track captures a unique holiday spirit. This lively collection is sure to be a December favourite, filled with both cheer and heartbreak, grit and grace_an unforgettable Christmas party on vinyl!