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Their 1990 debut, the first time on vinyl since the 1992 Big Cat reissue. Remastered.

Limited edition in blue vinyl for RSD2025.

The New York noise band with two bassists who later signed to Interscope.
After their split in 1996, main man Tod A formed Firewater, who released seven albums.

The heavy metal band Crimson Glory formed in Florida in 1982 and wore metallic silver face masks on-stage, for all photo shoots and public appearances. Front man and vocalist Midnight was an astoundingly powerful vocalist, so in addition to their identifiable look, they were easily identifiable in sound. After the success of their self-titled debut album, they released the follow-up album in 1988, titled Transcendence. It was received with great critical acclaim and is considered to be their finest work. The album features the popular tracks “Lady Of Winter”, “Painted Skies” and “Lonely” amongst others.

Transcendence is available as a limited edition of 1500 individually numbered copies on “Cool Blue” coloured vinyl and includes an insert.

Divine wasn’t just a singer, Divine was a phenomenon. Born Harris Glenn Milstead, Divine transformed drag, performance, and queer visibility long before it was mainstream. From the underground stages of Baltimore to international fame, Divine became a muse for filmmaker John Waters, starring in classic cult films like Pink Flamingos, Female Trouble and Hairspray, that redefined shock, satire, and queer cinema.

Native and Queer (The Complete Experience) brings together the full force of Divine's musical legacy in one explosive HI-NRG compilation. anthems,. Featuring the iconic anthems that shook dancefloors worldwide, “Native Love (Step By Step)”, the track that launched Divine into international stardom, “Shoot Your Shot”, “Walk Like A Man”, “You Think You’re Man” and more bold tracks. American producer Bobby Orlando aka Bobby “O” was the architect behind Divine’s most tracks and is regarded as an innovator in the HI-NRG genre, while Pete Waterman & Barry Evangeli produced “You Think You’re A Man” and “Walk Like A Man“ was a solo effort by Barry Evangeli.

All tracks are sequenced, edited and mastered by Ben Liebrand.

Native And Queer (The Complete Experience) is available as a limited edition of 1000 individually numbered copies on blue splatter vinyl.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

restock

Human Tragedy, Years of Denial's 7-piece Mini-LP pressed on 180g vampire red 12" in a ltd edition of 300 copies on Modular Mind. 
Throbs of a tragic condition, the actors have abandoned the stage and only the zeitgeist remains. Maybe we have contaminated ourselves and everything around. We are the ever expanding toxic population.

One which lyrically questions some of the radical changes affecting society. A society of increasing division and tension. Social media, influencers, online dating, the distraction of mobile phones, young adults financially trapped in the family home, AI, and bullying: are all scrutinised. Musically, the style has moved on since the last album, 'Things Are Getting Stranger On The Shore'. New members, Luxagen (keys, vocals) and Steve Thompson (bass) have added their considerable musical talents to an already strong line up of Mordecai (vocals, guitar) Tabitha (Sax, clarinet) and Michael Creech (drums, percussion). The new direction tips a nod to the "Art Rock" and "New Wave" music of the 1970's, with plenty of modern innovation in store to keep things sounding fresh and exciting. Previously, Mordecai Smyth has worked with Terry Bickers (House of Love/Levitation) and recently played live shows supporting Bickers' new band. He has had three albums released by Mega Dodo and has written soundtracks to historical films for the British Film Institute. 'Gather The Scattered Mind' is limited to 100 copies, comes in a gatefold sleeve with lyric insert.

Represss!

Z Records continues its commitment to unearthing the obscure and
long forgotten tracks from the last 40 years through the ever-popular
Under The Influence series. Following on from Red Greg, Nick The
Record, Sean P, Faze Action, and last years Alena Arpels. It’s now the
turn of one of the scene’s most impressive collectors & DJs; Rahaan

Hailing from Chicago his love affair with muzik started in the late 70’s early 80’s, listening to muzik on the radio combined with his mom and dad playing their records every weekend. In the early 80’s on the South side of Chicago, he started hearing something a bit different, what they called ‘house muzik’. A combination of Disco, Jazz, Soul Funk, New Wave and Italo Disco. Here Rahaan digs deep into his impressive record collection that he has collected, built up and crafted over his many years of travelling, networking and DJin to showcase 22 of his finest and rarest cuts. Many of the tracks on the album would cost hundreds and that’s if you were even able to find the originals! As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof Casino Royale.

The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry.

This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time.

Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date.

This special 2xlp is a limited edition pressed on 180-gram black vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

Due to demand (and that we zero copies of their vinyl studio album left, and only a few of their live vinyl album), we've compiled all the tracks from both (and more - see below), we're reissuing them both on a 2xCD with a 24-page booklet. Before Suicide had really made it to the West Coast, Grey Factor were working in a similar realm - early post-punk, a little before punk (as such) and proto-industrial music. Here's what the band has to say: The future is tricky - and while we may have been left behind, this is our attempt to catch up with it. We offer a double CD capturing everything we've ever recorded. The Future Arrives Without You includes the previously released vinyl LPs - 1979-1980 A.D. Complete Studio Recordings and A Peak In The Signal: Live 1979-1980_plus a few surprises, including our first new studio tracks in 45 years. Both songs are covers, Wire's 12XU and Campag Velocet's Sauntry Sly Chic, and nine more lost studio tracks. 12XU was a jolt of pure adrenaline_two minutes of perfection from one of the era's best bands, a huge influence on us. Sauntry Sly Chic, from a group few remember but we never forgot, had one of the most infectious grooves we had ever heard. We also loved their lead singer's live getup: a cycling helmet and fencing gear. Perfection. These tracks inspired us to head back into the studio after four decades away. On A Peak In The Signal, we've added nine unreleased pieces we call the In-Betweens. Created out of necessity in 1979-1980, pre-recorded and played between our live performances, these sonic interludes filled the dead space while we reprogrammed our temperamental analogue synths between songs. Absurd, experimental, audience favourites.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

Wild and untamed Swedish teenage heavy metal from 1981-1985. Includes their ultra rare single plus previously unreleased studio recordings. The album includes a booklet with interviews and photos documenting TRP’s wild stage shows and the local Swedish hard rock youth gangs of the 1980s. Blood splattered vinyl - limited edition of 600 copies worldwide.

The teenage boys that formed TRP came together in the small town of Fjälkinge outside of Kristianstad in southern Sweden back in 1981. In 1982 they recorded and released their legendary after single. They immediately became very popular with the local hard rock you gang’s attracting wild and rowdy crowds.

TRP performed wild and loud shows gilded by the bands furious use of pyrotechnics, smoke bombs, leather, studs and gallons of fake blood.

Their stage show combined with their music got the band banned in Sweden and it was said that they were obscene and promoted satanism.

The band didn’t let that stop them and instead they went into a studio and recorded several tracks with their new lead guitarist. However, these amazing recordings were never released...until now that is. Then in 1985 TRP performed their last show. Their final stand was heavy metal mayhem supreme and the whole stage went up in flames.

“I had welded a guitar slide with one end closed and filled it with chimney test smoke, then I screwed it to the top of the neck of the bass. It burned constantly for two songs, but the effect was cool. We spat blood, as usual, and Peter just kept firing off bombs like crazy. He managed to shoot one right up into Fredrik’s ass during a guitar solo…”

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

This is the very first reissue on 7” single of these super rare and gorgeous early Reggae tracks by one of the most underrated voice of Jamaica. Both these tracks were produced by Dandy Livingstone and released in 1969 on the Downtown label, a Trojan sublabel, on two separate singles:
- DT-436: Audrey "You'll Lose A Good Thing" with Desmond Riley "If I Had Wings" on the flip.
- DT-414: Audrey "Love Me Tonight" with Brother Dan All Stars "Shoot Them Amigo" on the B side.
NOTE: Desmond Riley "If I Had Wings" is featured on our companion single also to be released on June 21, 2025.
This reissue brings these two rare gems together for the first time on a 7” single allowing enthusiasts and collectors to experience their gorgeous sound.
The original pressings have become highly collectible, with copies fetching big sums in the collectors' market.
This exceptional release will be available on our website and in select record shops worldwide from June 21, 2025.

Audrey Hall, aka Audrey was born in Kingston in 1948, sister to Pam, Trevor & Raymond Hall, all Reggae artists. She began her career as a duo, Dandy & Audrey with Dandy Livingstone. She recorded two albums with Dandy as a duo in 1968 and 1969.
She also recorded a handful of solo singles on the Down Town label with Livingstone as a producer. Dandy was a key producer shaping Jamaican sounds in Britain at that time. Although these tracks are actually all quite nice, two tracks really standout: “You’ ll Lose A Good Thing” and “Love Me Tonight” both released together for the first time on this single.
After the Skinheads craze subsided in Britain, Audrey moved to New York. During much of the 1970s and early 1980s, she worked as a backing singer alongside her sister Pam Hall. She made a real come-back as a solo artist in 1985 with producer Donovan Germain and scored many hits in the U.K.including “One Dance Won’t Do”, "Smile" and "The Best Thing For Me".
While she gained wider success in the 1980s with lovers rock hits, she did not quite get the recognition her outstanding singing skills deserved and she remains one of the most underrated voice of Jamaica…

- Voice of the Beehive's sophomore album. 1991's Honey Lingers, saw the UK/US pop-rock band build further on their signature mix of jangly guitars, upbeat rhythms, and melodic pop hooks, edging closer to a glossier, more mainstream sound
- Working with producers such as Don Was (The B-52s, Bob Dylan), Hugh Jones (Echo & The Bunnymen, The Charlatans) and Alan Tarney (A-ha, Saint Etienne), its 3 singles - 'Monsters And Angels', 'I Think I Love You', and 'Perfect Place'- all broke the UK Top 40.
- 'Monsters And Angels' was also a significant top ten Modern Rock track at US radio as well as breaking the US Top 100.
- The album saw the band build on the indie-rock of their debut to bring in more mainstream pop influences.
- The album sold over 60,000 copies in the UK, enjoying silver sales.
- These new versions see the album remastered :
1. re-issued on vinyl for the very first time, pressed on limited edition hot-pink vinyl..
2. The expanded - 37 tracks- and remastered double CD delves into the archives to uncover B-sides, acoustic versions and alternate takes, as well as live tracks from an iconic 1991 performance at The Kentish Town & Country Club recorded for BBC Radio One.

The Dutch band Time Bandits, formed by Alides Hidding, had national and international success. In 1981 the Time Bandits scored a big dance hit with “Live it Up”, which ended up in the number 1 spot of the American Dance Charts.

Characteristic of the Time Bandits is the professional sound of funk, disco, soul and rock and the unmistakable voice and guitar sound of Alides Hidding. In 1983, the song “I’m Specialized In You” came in second in the dutch top 40. It was a monster hit with more than 90,000 copies sold in the Netherlands and 450,000 in France. The following single “Listen To The Man With The Golden Voice” also made it to the top 10.

In October 1983 the single “I’m Only Shooting Love” reached the top 10 while the band also continued to break through internationally. The single did very well in France, Portugal, America and Australia and reached the number 1 spot in the New Zealand single charts. The Time Bandits went on tour to Australia and New Zealand and another string of hits followed.

The “Endless Road” music video was filmed in Australia during the band’s 1985 tour. The video has been viewed over 2,5 million times on Youtube.

The vinyl edition of Greatest Hits features all their hits, various remixes and 3 fan-favorite bonus tracks; “Reach Out”, “Dancing On A String” and “Endless Road (High Energy Dance Mix by Ben Liebrand)”.

This is limited edition of 500 copies, pressed on transluncet pink coloured vinyl. This 2-LP set includes an insert.

"Langt Fra Jorden" ("Lejos De La Tierra", in Spanish, for the book) is the result of the dialogue between the Spanish photographer and artist Irene Zottola and the Danish musician and artist øjeRum initiated by IIKKI, between June 2024 and November 2024.

øjeRum is Copenhagen based musician and collage artist Paw Grabowski. In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies.
With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.

Irene Zottola is a Spanish photographer and artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text.
She has been self-taught in Madrid in the laboratory of the Slow Photo collective since 2016. In 2017 she is a finalist in the Rfotofolio Grant.
Her work has been exhibited in Spain, Italy and Morocco. She has published with editorials such as La Bella Varsovia and Lumen (Spain) and magazines such as She shoots film (Australia), Fisheyemagazine (France) and Vostmagazine (Korea).
In 2021 she received one of the Grants to Creation granted by VEGAP with which she began a new project in Paris and was part of the artistic residence ART(e)gileak of the BBK with a participatory photography project. She is one of the 33 authors of the Mission Region project organized by the Community of Madrid and is part of the platform of the National Image Centre in Spain. Winner in 2020 of the V Edition of the Photochannel Contest, she has published with Ediciones Anómalas her first photobook, "Icarus", which has been a finalist in PhotoEspaña and in Les Photobook Awards of Les Rencontres d'Arles 2022.
"Lejos De La Tierra’’ is her second book.

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Print Cream 115g/m2 // 80 pages, 17cm x 23cm, 42 photos // Logo and slot embossed // Hot gold stamping // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

Released in 2000, Don't Fear The Reaper: The Best of Blue Öyster Cult is a comprehensive compilation album showcasing the most iconic tracks from Blue Öyster Cult's storied career. Spanning their early 1970s beginnings to their success through the 1980s, the album features hits like the legendary "Don’t Fear The Reaper," the hard-hitting "Godzilla," and the haunting "Burnin' for You." Known for blending hard rock with elements of metal and psychedelia, Blue Öyster Cult’s complex guitar work and enigmatic lyrics shine throughout this collection. The album highlights the band’s innovative sound, which helped shape the rock genre with its unique mix of heavy riffs, intricate harmonies, and dark themes. For both longtime fans and new listeners, Don't Fear The Reaper: The Best of Blue Öyster Cult is a must-have, offering a perfect introduction to the band's most influential and timeless tracks. Don't Fear The Reaper: The Best Of Blue Öyster Cult is a limited edition of 2000 numbered copies on translucent blue coloured vinyl.

"Black Stone Cherry is the debut album from American southern rockers Black Stone Cherry. They offer more than your traditional southern rock sound, it's a mix of classic rock & hard rock tight together with some ballads. This 4 piece knows how to roll & deliver, Chris Robertson’s powerful, rough voice, Ben Wells’ bluesy guitar riffs, Jon Lawhon’s impressive bass play and John Fred Young’s technical skilled drum rolls it's all there. Black Stone Cherry's debut album is indeed a real treat for rock fans.

Black Stone Cherry is available as a limited edition of 1000 individually numbered copies on translucent red colored vinyl. It comes in a gatefold and contains an insert."

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

Human Impact, die laserpräzise Noise-Rock-Allianz von Unsane-Frontmann Chris Spencer und Cop Shoot Cop-Mitglied Jim Coleman, meldet sich mit 'Gone Dark', dem zweiten Album der Band, zurück. 'Gone Dark' ist kein Schrei aus der Dunkelheit, sondern ein Schrei durch die Dunkelheit, eine robuste Proklamation von Resilienz und Widerstand im Angesicht der drohenden Apokalypse.

Dank der Verstärkung durch zwei weitere Noise-Rock-Veteranen - Bassist Eric Cooper (Made Out of Babies, Bad Powers) und Schlagzeuger Jon Syverson (Daughters) - ist das Arsenal von Human Impact gewaltiger denn je. Spencer, der das Jahr 2020 damit verbracht hatte, an einer Hütte in den Wäldern von Ost-Texas zu arbeiten, reiste nach Austin, um mit den beiden in der Garage des Bassisten zu jammen. Freundschaftliche Jamsessions mit alten Unsane-Songs führten schließlich dazu, dass die Rhythmusgruppe für die Europatournee 2022 vollständig in das Line-Up von Unsane und Human Impact integriert wurde.

Aufgenommen mit Co-Produzent Andrew Schneider (Ken Mode, Cave In) im Cedar Creek Studio in Austin, Texas, ist 'Gone Dark' eine härtere, straffere Version der strammen Grooves von Human Impact, mit zerbrechlichen Gitarrensplittern, leidenschaftlichen Schreien und Wolken aus dystopischem Lärm.

Transparent orange vinyl, limited to 350 copies. Brand new LIVE ALBUM for the Portland based legendary psychedelic-progressive rockers DANAVA !!! First two songs were recorded during DANAVA European Tour back in 2008, the other four tracks were recorded during European Tour in 2023.

Doug Liman’s breakthrough film Swingers showed he had a real ear for music; for his next film, 1999’s Go, he traded neo swing nostalgia for rave culture, but the beats-heavy score still took center stage. Its tale of a drug deal gone wrong dismissed by some as a Pulp Fiction rip-off when originally released, Go has become a bona-fide cult classic over the years, and its kinetic soundtrack—composed of the most au courant artists and tracks (including the first new single in two years from No Doubt)—has always enjoyed a lofty reputation among film score cognoscenti. For this 25th anniversary release, we’ve fashioned a gatefold jacket festooned with stills from the film to hold the two LPs, which we’ve pressed in “Blue Smoke” vinyl limited to 750 copies!

New Heavy Sounds is super stoked to announce a very very special team up between our favourite punk sisters, Shooting Daggers and Death Pill. Both bands have recorded a brand new song, and what better way is there to present them (or any kind of punk) than a good old split single. So kicking off the Shooting Daggers/Death Pill split, is this never before recorded Death Pill track 'MONSTERS'. Ukrainian punk trio Death Pill certainly made a stir when they hit the UK as part of their first ever European tour. Articles in the likes of the Guardian and Sunday, featured in all the music mags, plus the band showed that they were a pretty ferocious musical outfit, as those who were witness to the full on live experience can testify. Whilst in London, the band also had time to cut 'MONSTERS'. Recorded live in the studio with Wayne Adams (Pet Brick, Big Lad and producer of Green Lung) at the helm, MONSTERS is a short, sharp shock. An angry, sardonic and skewed amalgam of riffs and full on blast beats … it growls and it rips. The band says .. “This track is about how our parents knowingly or unknowingly lose their children. As an example - here are the most painful things you could hear from your folks: "When will you finish your music games?” "You will never achieve anything!” "When are you finally going to do something useful?" Therefore, when there was an opportunity to record a one live song in London, the choice of a song became obvious. Just imagine the "surprise" on the faces of our mums... Many thanks for Ged and Paul from the NHS label for supporting this idea, and to Wayne from Bear Bites Horse for the sick and fat sound” What makes this release all the more exciting, is that Shooting Daggers are dropping their first new music since last year's EP 'Athames'. Sal, Bea and Raquel are most definitely on the way up, their exciting blend of hard as nails hardcore, punk attitude and a neat melodic sense have made them a much sought after outfit, for gigs and festivals here and across Europe. They are slowly but surely proving themselves to be one of THE bands to watch in 2024. If the EP left their growing legion of fans gagging for more, new track 'NOT MY RIVAL' will not disappoint. It's a catchy, pogo-tastic, queercore punk banger, full of feminist grit and a killer earworm chorus. The band says ... "Not My Rival, is a song about dismantling the male gaze, fighting against the internalised patriarchal messages that we all unconsciously absorb. It's about breaking the cycle of female rivalry. We want to encourage lifting each other up instead of tearing each other down" The Shooting Daggers debut album is due in the new year .... you have been warned, this is the shape of things to come. But there’s more ... a very special 7” single strictly limited to 250 copies. Classic black vinyl, with a reversible foldover sleeve with artwork from each band on each side so you can choose your own cover, full colour printed labels housed in a poly overbag

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE

Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.

Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.

Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.

Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.

The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.






















































[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy

Limited to 500 copies

Shooting stars is the new single from the acid house american specialist Tin Man. A slow acid pop song that will drive you high for sure. The single comes with two different remixes of « Electric blue » from the frenchies Monkey Nenufar (Leiris & Ben Vedren). Non-standard Tobias Freund suggests a new vision of « Love sickness ». Both original tracks were released on salon records in 2011.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!