quête:curtis

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Christophe Salin delivers „It’s Probably Me EP” on his very
own imprint - a modern interpretation of a classic house EP.
Christophe further deepens the love for details in his
productions, which were evident in his recent remixes for
Sable Blanc & Tour-Maubourg. This EP marks a shift in
sound and style that both surprises and arouses curiosity
whilst still retaining Christophe’s sonic signature. House
music is about love, respect and equality. It brings together
beautiful people from all over the world and creates
unforgettable memories. It’s a shelter - a place where you can
be free. This EP is a love letter to house which Christophe fell
in love with back in 1999, a love that never faded. Iron Curtis
joins the Salin family with his remix contribution of the title
track to which he lent his distinctive sound that we love so
much. Daria Salin once again proves her talent for capturing
moods and sharing it with us through her paintings. Holding
the artwork in your hands whilst listening to the music will let
you experience being caught in the moment; at once being
yourself and finding freedom. We hope to meet you in our
house

This Is The First Legal Reissue Of Two 'mowest' Classics By The Sisters Love. Give Me Your Love Penned By Curtis Mayfield, And Try It You'll Like It By Willie Hutch Gives You The Calibre Of The Two Songs Here From 1973, Both Extremely Rare On 45. 'give Me Your Love' Was Also Sampled By Robbie Williams On 'kids"

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

In 1962, Black Music was making its transition from R&B to soul and the Chicago music industry was exploding, producing thousands of records and dozens of new labels. The two biggest black labels Vee-Jay and Chess led in the creation of the distinctive, smooth, Chicago soul brand with names familiar and not so familiar: the former with Curtis Mayfield and Jerry Butler and the latter with Mitty Collier, Etta James and Billy Stewart. And yet it's the smaller labels that make up the bulk of the Chicago story: Hawk with Geraldine Taylor, Lu-Cee with Roberta, M-Pac with Dorothy Prince and it's here that we explore some of the finest sounds of the era in this collection. Extensive liner notes written by Robert Pruter, author of the acclaimed 'Chicago Soul'. Side One. 1. The Town I Live In - McKinley Mitchell 2. I'm The One Who Loves You - The Impressions 3. Shake A Tail Feather - The Five Du-Tones 4. Mama Didn't Lie - Jan Bradley 5. Make It Easy On Yourself - Jerry Butler 6. Seven Day Fool - Etta James 7. The Blues Don't Like Nobody - Tony Adams 8. I've Got To Get Away From It All - Mitty Collier 9. How Much Longer - Geraldine Taylor 10. I'm On The Prowl - Roberta. Side Two: 1. Fat Boy - Billy Stewart 2. Can't Take No More - Ted Taylor 3. I Don't Want To Suffer - Walter Jackson 4. Open Your Heart - Sugar Pie DeSanto 5. Shook Up Over You - Dee Clark 6. Something's Got A Hold On Me - Etta James 7. Why Not Tonight - Dorothy Prince 8. Delilah - Major Lance 9. Money In My Pocket - Moss Tolbert

Clear Vinyl in limitierter Auflage von 1500 Stück. Die renommierte US-niederländische Gospel-Soul-Künstlerin Michelle David & The True-tones läuten mit ihrem neuen Album ,Soul Woman", das am 27. Februar 2026 bei Record Kicks erscheint, ein neues Kapitel ein. Aufbauend auf dem von Kritikern gefeierten Album ,Brothers & Sisters" aus dem Jahr 2024, das die Komplexität der Welt widerspiegelte, wendet sich die neue LP ,Soul Woman" nach innen - eine zutiefst persönliche Auseinandersetzung mit Identität, Heilung und spiritueller Widerstandsfähigkeit. ,Wie kann ich andere bitten, sich Zeit zu nehmen, um über ihr Leben nachzudenken, wenn ich das selbst nicht tue?", fragt Michelle David. Dieser Geist der Selbstreflexion und Erneuerung steht im Mittelpunkt von ,Soul Woman" - einem Album, das Verletzlichkeit zulässt und gleichzeitig Stärke ausstrahlt. Musikalisch verfeinert ,Soul Woman" die charakteristische Mischung der Band aus Gospel, Soul und Vintage-Rhythm & Blues und schöpft dabei aus einer breiteren Palette von Einflüssen. Anklänge an Curtis Mayfield, Bobby Womack und The Four Seasons pulsieren durch die Grooves, während das Gospel-Feuer der Blind Boys of Alabama und die fröhliche Ausstrahlung von Diana Ross & The Supremes dem Album sowohl Schwere als auch Glanz verleihen. Im Mittelpunkt steht Michelle Davids unverwechselbare Stimme - rau, warm und voller Entschlossenheit -, umhüllt von reichhaltigen, analog geprägten Arrangements ihrer langjährigen Mitstreiter Paul Willemsen (Gitarre, Bassgitarre), Onno Smit (Gitarre, Bassgitarre) und Bas Bouma (Schlagzeug). Gemeinsam stehen Michelle David & The True-tones an der Spitze der Retro-Soul-Szene - sie verbinden zeitlose Grooves mit moderner Dringlichkeit, unerschütterlicher Authentizität und herzlicher Leidenschaft. Eine Stimme, geboren in der Kirche, geschliffen auf der Straße. Michelle David wurde in New York geboren und wuchs in der Kirche auf. Mit nur vier Jahren begann sie zu singen und trat mit fünf Jahren ihrer ersten Gruppe, The Mission of Love, bei. Ihre kraftvolle Stimme führte sie um die ganze Welt, wo sie in gefeierten Broadway-Produktionen wie Mama, The Sound of Motown, Glory of Gospel und Mahalia mitwirkte und mit Legenden wie Diana Ross und Michael Bolton Aufnahmen machte - alles bevor sie ihre gefeierte Reise mit The True-tones begann. Gemeinsam haben Michelle David & The True-tones sieben von der Kritik gefeierte Alben veröffentlicht und die Bühnen Europas erobert, von Pinkpop über North Sea Jazz bis hin zum London Jazz Festival. Die Band ist bekannt für ihre mitreißenden Live-Auftritte, hat von Spanien bis Skandinavien Standing Ovations erhalten, ist in großen Fernseh- und Radiosendungen aufgetreten und hat sogar bei den Olympischen Winterspielen 2022 gespielt. Ihre Aufnahmen wurden ebenso gelobt: The Gospel Sessions wurde für einen Edison Award (das niederländische Pendant zum Grammy) nominiert, während Truth & Soul aus dem Jahr 2020 von Craig Charles' BBC Radio 6 Music zum Album des Jahres und von FIP (Radio France) zum Album des Monats gekürt wurde. Ihr jüngstes Album, Brothers & Sisters (2024), markierte ihr Debüt bei Record Kicks und wurde zu einem Durchbruch - gefeiert von Rolling Stone France, KEXP, Jazzthing Magazine (Deutschland), De Volkskrant (Niederlande) und BBC 6 Music. Ein Zeugnis der zeitlosen Kraft des Soul: Mit ,Soul Woman" bieten Michelle David & The True-tones mehr als nur eine neue Platte - es ist ein musikalisches Zeugnis der Widerstandsfähigkeit, eine Feier des spirituellen Wachstums und eine Bekräftigung der Fähigkeit der Soulmusik, zu heilen, zu verbinden und zu inspirieren. Gleichzeitig in klassischen Traditionen verwurzelt und neue Wege beschreitend, ist dies zeitgenössischer Soul vom Feinsten. Für Fans von Durand Jones & The Indications, Thee Sacred Souls, Jalen Ngonda, Sharon Jones & The Dap-Kings, Lee Fields, Mavis Staples.

Dictaphone are back with their 6th full length called "Unstable". In the 25th year of the project Brussels born composer and mastermind Oliver Doerell is surrounded again by a lot of musicians & friends. Roger Döring is there, his clarinet and saxophone play has always been a trademark sound of the band - also Alexander Stolze's ghostly violins. The dark atmosphere and experimental sound of the new album is a reference to the 80s belgian art music scene, which Doerell had the luck to experience in his formative years. Minimal jazz meets musique concrete meets a postpunk mind. On this new album “Unstable“ more voices and vocals than usual can be heard - especially Helga Raimondi (who already sang on the last album “Goats and Distortions 5") . As a collage artist she is also responsible for the visual side of Dictaphone - she designed the cover artwork and the visuals for the live shows.

The Brussels-Berlin-Teheran connection: Other guests on "Unstable" are the voices of Kaveh Ghaemi and Ashkan Afsharian, who Doerell met during a modern ballet production by Modjgan Hashemian (2008). The trumpet of Shahab Anousha can be heard in the track “La fin“ - Oliver Doerell and Shahab Anousha also share the spoken words Project “Noufān”. For nearly 20 years Oliver Doerell is linked to the Iranian Diaspora in Berlin and the Dictaphone track “Rattle” from the classic album “ Poems from a rooftop “ (2012) has been a hit in Teherans underground scene since the beginning. Furthermore the title track “Unstable“ is a homage to Ian Curtis of Joy Division. The words of this piece are based on the setlist of Joy Divisions last show.

Dictaphone played more than two hundred shows all over the world (including festivals Mutek, Transmediale, Unsound , Benicassim and many others). Their music can be heard in countless films, tv series and theatre pieces - (“the responder“ (BBC) , “the love he knows” (Ali Mohammad) , “Don´t move“ (Modjgan Hashemian) , Ring (Felix Ruckert) among others.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

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.

Pullman ist eine im Studio entstandene Akustik-Supergroup, die Ende der 90er Jahre aus der Post-Rock-Szene Chicagos hervorging und Ken ,Bundy K." Brown (Tortoise/Directions in Music), Curtis Harvey (Rex), Chris Brokaw (Come) und Doug McCombs (Tortoise/Eleventh Dream Day) vereinte. Später kam Schlagzeuger Tim Barnes hinzu, wodurch die Kernbesetzung der Gruppe gefestigt wurde. Ihr Debüt bei Thrill Jockey gaben sie 1998 mit "Turnstyles & Junkpiles", einer leisen, live auf zwei Spuren aufgenommenen Sammlung verwobener Gitarrenklänge, die Kritiker mit John Fahey, Leo Kottke und Gastr del Sol verglichen. Ihr Folgealbum "Viewfinder" (2001) erweiterte die Palette um Percussion, subtile elektrische Texturen und Mehrspur-Layering, wobei die rustikale, filmische Zurückhaltung von Pullman beibehalten wurde. Mit beiden Alben wurde die Band zu einem Maßstab für akustische, songorientierte Instrumentalmusik: folkig im Geist, postrockig in der Methode und zeitlos im Klang. Zwei Jahrzehnte später kehrt Pullman mit "III" zurück, einem Album, das von Freundschaft und Widerstandsfähigkeit geprägt ist. Im Jahr 2021 gab Barnes seine Diagnose einer früh einsetzenden Alzheimer-Erkrankung im Alter von 54 Jahren öffentlich bekannt. Trotz seines fortschreitenden Gesundheitszustands begannen er und Brown fast täglich, oft aus der Ferne, mit einem großen Kreis von Mitwirkenden aus Barnes' musikalischer Vergangenheit zusammenzuarbeiten. Was als einzelner Beitrag für eine Compilation begann, entwickelte sich nach und nach zu einem vollständigen Pullman-Album, das zwischen 2021 und 2023 fertiggestellt wurde. "III" wurde von Brown bearbeitet und gemischt, mit frühen Beiträgen von Barnes, und führt die für die Gruppe charakteristische Intimität und Räumlichkeit fort, während es gleichzeitig den Geist der Gemeinschaft verkörpert, der ihre Arbeit seit jeher geprägt hat. "III" ist sowohl eine Fortsetzung der einzigartigen Ästhetik von Pullman als auch ein Beweis für die nachhaltige Kraft der Musik und schwebt mit der stillen Schwere der Erinnerung, der Beharrlichkeit und der Anmut.

The group's fourth album with songs written by Kris Kristofferson, Curtis Mayfield, Mickey Newbury, Janis Ian, and Emmylou Harris Featuring the single "No Regrets", that reached #7 in the UK Singles Chart and Dutch Top 40 50th anniversary edition on yellow, red & orange marbled vinyl

This year we celebrate the 50th anniversary of No Regrets, the fourth studio album by The Walker Brothers.

Following an eight-year hiatus Gary Leeds, Scott Engel, and John Maus finally reunited. This time the band drew stronger influences
from country and contemporary pop music. Most of the material on the album was written by renowned artists of its time such as
Curtis Mayfield, Emmylou Harris, Mickey Newbury, Kris Kristofferson, and Janis Ian.

The reunion was a success with the title song reaching the top 10 in the United Kingdom and Netherlands.

The album has now been reissued on LP for the first time in 50 years.

No Regrets is available as a limited edition on yellow, red and orange marbled vinyl and includes an insert.

15 soul classics from the greatest artists of the genre including James Brown, Barry White, Stevie Wonder, Sam Cooke and Marvin Gaye.

Yamauchi Tetsu (Bass, Guitar, Vocal) / Eleanor Barooshian (Vocal) / Narita Masaru (Vocal) / Pipi Shibata (Guitar) / Ohno Katsuo (Keyboards) / Harada Hiroomi (Drums, Percussions) / Tsunoda Hiro
(Drums, Percussions) / Charlie (Percussions)

Strong groove and sharp guitar sound
Yamauchi Tetsu's first solo album recorded in Japan while still in Free
Yamauchi Tetsu, who became the bassist for the British band Free after playing for Mickey Curtis & Samurai, recorded his first solo album during a temporary return to Japan in 1972.
This is a full album with plenty to listen to, including the edgy guitars on "Wiki Wiki," the groovy funk rock on "First Time," "How To Cook," and "Orange Dog," and Eleanor's languid vocals
on "Alexander Stone," "Why," and "Baby Blue." Reissued with remastering by Makoto Kubota.

Commentary: Shinichi Ogawa
Remastering: Makoto Kubota

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

The new album The Cinnamon Show by Cinnamon Gum is a juicy journey into the golden era of the 1970s, filled with a warm and rich blend of soul and funk.
Recorded using classic analog instruments, this album is a tribute to authentic sound and musical craftsmanship. A unique approach to sound engineering creates a cohesive and immersive atmosphere that accompanies the listener from start to finish. Each single is enhanced by a vibrant music video inspired by iconic music programs like Soul Train and The Midnight Special.
The artist's vocals shine throughout the album, combining deep, sensual phrases with subtle melodies, drawing inspiration from soul legends such as Marvin Gaye and Curtis Mayfield. The lyrical layer explores both personal stories and universal themes of love, loss, and hope, making the album an exceptionally intimate and authentic experience.

Hüsker Dü. Live. 1985. Das transzendente Punk-Trio aus Minneapolis in seinem explosivsten Jahr, live aufgenommen auf der Bühne im First Avenue, in der vielleicht am besten klingenden Aufnahme der gefeierten SST-Ära der Band. Diese 4xLP/2xCD-Edition enthält Beau Sorensons Restaurierung der 21 Songs des gesamten Sets vom 30. Januar 1985, dazu 20 zusätzliche Live-Tracks aus dem weiteren Tourneeverlauf des Jahres und ein Deluxe-Booklet mit detaillierten Informationen zu den zwölf geschichtsträchtigen Monaten von Hüsker Dü. Wie klingt eine Legende, in dem Moment, wenn sie geschrieben wird? Betrachtet man das Jahr 1985 durch die dynamische Linse der Independent/DIY-Musik, so gab es Mitte des Jahrzehnts für Hüsker Dü einen kraftvollen und unbestreitbaren Sprint von der rauen Punk-Institution bei SST zur künstlerischen Empathie bei Warner Bros. Die New York Times bezeichnete die Band als "die beste, die aus der Hardcore-Szene hervorgegangen ist". Im Einklang mit diesem Lob zeigte Hüsker Dü ein kreatives Tempo, das in keiner anderen Musikära zuvor oder seitdem jemals erreicht wurde. Nachdem sie im Juli des Vorjahres mit dem Doppelalbum "Zen Arcade" die aufkeimende Alternative-Rock-Bewegung sprengte, veröffentlichte die Band nur sechs Monate später, am 14. Januar 1985, das epochale "New Day Rising" und hörte nie auf, dem Sonnenaufgang über dem Hidden Beach nachzujagen, der das Cover des Albums zierte. Am 30. Januar 1985 erreichte Minneapolis am Abend zum Zeitpunkt des Konzerts -11 °C, was einem gnadenlosen Temperatursturz von 19 Grad gegenüber dem Tageshöchstwert von 8 °C bedeutete. Die 1500 Besucher im First Avenue brauchten jedoch kein T-Shirt, geschweige denn eine Daunenjacke: Von den ersten blendenden Momenten von "New Day Rising" an war klar, dass Bob Mould, Grant Hart und Greg Norton fest entschlossen waren, jedes Molekül im Raum in Brand zu setzen. Ihre Setlist bot eine nächtliche Kaskade von Feuerbällen aus den Alben "Everything Falls Apart", "Metal Circus", "Zen Arcade" und "New Day Rising" sowie fünf neue Songs, die später auf "Flip Your Wig" wieder auftauchen sollten. Außerdem würdigten sie ihre rockigen Vorfahren: mit einer rasanten Version von "Eight Miles High" von The Byrds, einer turbulenten Interpretation von "Helter Skelter" von den Beatles mit Dave Pirner von Soul Asylum, einem Pop-Punk-Remake von "Ticket To Ride" ebenfalls von den Beatles und ihrem charakteristischen Cover von Sonny Curtis' Mary-Tyler-Moore-Titelsong "Love Is All Around" zum Abschluss. Die First-Avenue-Bänder von 1985 zeigen Hüsker Dü in Höchstform mit bereits beliebten Songs, ein paar Jahre bevor sie ihren Status als Blaupause für den kommenden Alternative-Rock-Boom endgültig gefestigt hatten. Dieses Box-Set feiert diese Aufnahmen, die vielleicht die besten Hüsker-Dü-Aufnahmen sind, die während der legendenhaften SST-Jahre der Band produziert wurden. "Wenn ich an diese Zeit zurückdenke", kommentiert Greg Norton, "waren das drei Jungs, die das taten, was sie liebten, Spaß hatten und im Grunde anderen Menschen zeigten, dass man sich selbst treu bleiben kann, seiner Musik treu bleiben kann und sich nicht der Mode oder den Erwartungen beugen muss, um etwas wirklich Großartiges zu schaffen."

Originally only available DTC. Durand Jones & The Indications share a new version of the sweet soul anthem Cruisin' To The Park with a Mexican twist from Y La Bamba. The song is a bside of ‘Too Many Tears’ taken from their second album American Love Call, heavily inspired by Jackie Wilson, Curtis Mayfield, and The Impressions..

Bilders new album, Neverlasting is a mix of psychic adventures, hard psychedelia and commentary with a bite. Bilders have always sung outliers with a heap of empathy—exploitation of migrants, unmitigated killing and the state of our depleted planet. This album maintains an analog feel with technical finesse as it casts a cold eye on uses and abuses of power in the higher echelons. It is pure Bilders. Surprise collaborations bring in fresh tangents of colour and emotional edge. “We are the Neverlasting renter-squatters of Earth exhausted”. The band is once again the voice/guitar of Bill Direen, bass of Matt Swanson and near everything else by Alex McManus, with guesting by former Bilders. It’s the same lineup as last year’s acclaimed Dustbin of Empathy, released by Grapefruit and Sophomore Lounge, and the first ‘core’ Bilders lineup to remain constant for more than one album. The new compatibility shows. It’s an album that builds on current strengths. Notable guestings include Athens Georgia lights Claire Horne of 1980s BBQ Killers, and Curtiss Pernice, guitarist of heavy vanguard Porn Orchard, with a snook-in from experimental and electronic prince Todd Gerber. Two never-released tunes by vintage Bilders (Stu Page and Greig Bainbridge) sit perfectly with the new material. This is quite simply the strongest Bilders album ever.

The debut album from jazz multi-instrumentalist Yusef Lateef, Jazz Mood was originally released in 1957 on New Jersey’s Savoy label. Featuring five Lateef originals the album included Curtis Fuller (trombone), Hugh Lawson (piano), Ernie Farrow (bass), and Louis Hayes (drums). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

The Staple Singers were an American gospel, soul, and R&B singing group. They are best known for their 1970s hits "Respect Yourself",
"I'll Take You There", "If You're Ready (Come Go with Me)".

This is the soundtrack for the Bill Cosby/Sidney Poitier film Let's Do It Again.

The main title song reached the top of the Billboard Hot 100 singles chart and spent two non-consecutive weeks
at the top of the Hot Soul Singles chart. All tracks on this album were written by the legendary Curtis Mayfield

Das Debütalbum des Jazz-Multiinstrumentalisten Yusef Lateef, Jazz Mood, wurde ursprünglich 1957 auf
dem Label Savoy aus New Jersey veröffentlicht. Das Album enthält fünf Originalkompositionen von Lateef
und wurde von Curtis Fuller (Posaune), Hugh Lawson (Klavier), Ernie Farrow (Bass) und Louis Hayes
(Schlagzeug) eingespielt. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series
auf 180-Gramm-Vinyl, gepresst bei RTI, mit vollständig analogem Mastering von den Originalbändern bei
Cohearent Audio und einem Stoughton Tip-On-Cover.

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

LIMITED ITALIAN IMPORT. 500 ONLY.

Introducing "BLACK WAVES", a cinematic soul journey rooted in social justice, love, and introspection.

From the vibrant streets of Rome, Luca Sapio crafts an evocative musical landscape that echoes the soulful activism of Marvin Gaye’s "What’s Going On", Curtis Mayfield’s "There’s No Place Like America Today", and Eugene Mac Daniels’ "Headless Heroes of the Apocalypse".

Infused with the timeless sounds of Italian vintage soundtracks—Piero Piccioni, Ennio Morricone, and their cinematic grandeur—this album is a powerful blend of social awareness and heartfelt emotion.

Among the guests legitimising the sound of the album are the legendary Dennis Coffey (Original Motown Funk Brother) Rob Harris (Jamiroquai) and the veteran Boston rapper Ed O.G. along with the same strings used by Ennio Morricone.

Record mastered by grammy winner Mike Bozzi

Hailing from Roma, Italy, Luca Sapio is a celebrated singer-songwriter and record producer, known for his soulful contributions to the music industry.

With a career spanning over a decade, in 2012, Luca released his debut solo album, "Who Knows", which achieved notable success on the German and French charts and was recognized as the best independent record by SIAE, Italy's copyright collecting agency.

In 2014, he solidified his partnership with producer Thomas Brenneck and released his sophomore album, "Everyday Is Gonna Be The Day” once more backed with members of the Dap-Kings and the Budos Band.

After their epic run with Channel One beginning in the mid 1970's, the Mighty Diamonds moved to producer Gussie Clarke for a string of albums starting in 1979 and running thru the 1980s. Among the many many great tunes from this run, the title track of their 1982 album "The Roots Is There" is simply one of the Diamond's best ever, and probably the most lyrically militant tune they ever made. This tune was never released as a single at the time, though new mixes were released as a single in 2017. But prior to the release of the album back in the day, this song was played on dubplate in a raw mix without the horns and added percussion that made it onto the final album mix. This raw vocal cut, followed by a raw instrumental version, changes the whole tone of the tune and brings it into another level of militancy right up there with the hardest stuff you can name, even in an era filled with so many extra tough stepping classics. Rather than remaster from an old dubplate, for this 45 we had producer Gussie Clarke and Music Works' close associate engineer Curtis Lynch go back to the original tapes, and with an original dubplate as reference, perfectly recreate the original raw cut, now released in pristine tape quality. Again we present this release on Music Works' original early 1980s dubplate label design, just like the original slate would have been adorned with. If you only know the sweet harmony side of the Diamonds, give this one a try to see their other tuff side, and listen to the lyrics, as relevant to the struggles of right now as they were in 1982.

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

180g, turquoise vinyl. Perhaps the hardest thing about Soul music is convincing. If the place and the experiences don't somehow shine through and meet us, we risk missing out on what's on offer completely. "But first_ are you experienced?" as Jimi Hendrix asked. That's precisely why Soul music is difficult in Sweden. There are few who can portray their experiences in music in a way as convincing as in the Black US Soul tradition. This however seems almost provocatively easy for Bror Gunnar Jansson to do. On the album People, it's as if he pours both lyrics and melodies that have grown slowly in life and that come naturally if you grow up on the right soil. And on almost every song, it only takes a few bars for Bror Gunnar Jansson & The Escapism to show who their musical relatives are. Although Gunnar seems to move freely in musical landscapes ruled by the greats of seventies soul from Al Green, Curtis Mayfield and Aretha Franklin, as well as in some of the fringes of blues and jazz territory, both he and drummer and producer Christopher Cantillo explain that the album has took a long time brewing. And that what may appear obvious and simple has sprung out of a friendship that spans more than half of their lives.

Occasionally, one experiences serendipitous events in life. On the 13th of July this year, I received a message from Tim Trapnell, who had discovered an unknown 60’s track on YouTube and expressed his admiration for its exceptional quality. Intrigued by the message, I clicked on the link and was immediately captivated by the musical composition. Within minutes, I embarked on a quest to uncover more information about the band and the particular track. On the 16th of July, only three days after, I’ve received a message from Jim Bojorquez (aka JC), the lead vocalist of the Baron of Soul, “Hello Yann, I was delighted to hear that you have discovered and enjoyed my original composition, ‘Time or vs Tide.’ It was written by myself and Clark Baldwin. that the recording was performed live and this song was never released in any format back in the day. I have reached out to Jim Bojorquez the next day and we spent a considerable amount of time conversing via video chat about his illustrious 60-year music career as an artist in San Jose, California.

I proposed to Jim that I could release two songs from The Barons of Soul through Epsilon Record Co. I re-mastered both songs and made a deal with Jimmie that same day. So today, I am so pleased to present these two previously unissued tracks. "Time or Tide" is a powerful uptempo piece featuring an exceptional brass section and a Hammond B3. The vocals are exceptionally punchy and catchy, ensuring an unforgettable listening experience. "I Loved and I Lost” is a remarkable take of the Impressions classic written by Curtis Mayfield’s If you are an enthusiast of 60s uptempo music like Tim and myself, then this new and exceptional 45 is an absolute must-listen and must have!

S4R49 focuses on the legendary Muscle Shoals Sound Studio and features four previously unreleased tracks: two by the wonderful Katie Love; a fabulous version of Phillip Mitchell’s "Hitch Hike to Heartbreak Road" by Curtis Wiggins; and an exquisite song from Sandra Wright’s lost session at the studio, written by George Jackson and recorded in January 1978—proof that the magic was still alive.

Lee Morgan war ein amerikanischer Jazztrompeter und Komponist. Als einer der wichtigsten Hard BopMusiker der 1960er Jahre wurde Morgan bereits in seinen späten Teenagerjahren bekannt. Er nahm mit Bandleadern wie John Coltrane, Curtis Fuller, Dizzy Gillespie, Hank Mobley und Wayne Shorter auf und spielte in Art Blakeys Jazz Messengers. Morgan blieb bis 1961 bei Blakey und begann in den späten 50er Jahren, als Leader Platten aufzunehmen. Seine Komposition „The Sidewinder“, die auf dem gleichnamigen Album enthalten ist, wurde 1964 zu einem überraschenden Crossover-Hit in den Pop- und R&B-Charts. Nach einem zweiten Engagement in Blakeys Band arbeitete Morgan bis zu seinem Tod 1972 sowohl als Leader als auch als Sideman weiter. Ursprünglich 1960 auf dem Vee-Jay-Label veröffentlicht, ist ”Here’s Lee Morgan” Lee Morgans 10. Album. Auf der Sammlung von 6 Hard Bop-Stücken wird Morgan von Clifford Jordan (Tenorsaxophon), Wynton Kelly (Klavier), Paul Chambers (Bass) und Art Blakey (Schlagzeug) unterstützt. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl, das bei RTI gepresst wurde, mit analogem Mastering von den Originalbändern bei Cohearent Audio und einem Stoughton TipOn Jacket.