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An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

Look At Us Now: the long-awaited debut album from Song Festival sensation Gustaph!

"I wanted to make a record that makes people feel good about themselves."

Good things come to those who wait: after more than 20 years as a musician, Gustaph is releasing his debut album, Look At Us Now. The title is a phrase from the song Because Of You, which won him seventh place at the Eurovision Song Contest in 2023.

"Look At Us Now may be taken literally," Gustaph explains. "Look where we are now after 20 years of hardwork. And look where we are with the queer movement: as a queer artist, I can openly be myself and sing about the things that are important to me."

Gustaph's soulful voice takes us through various themes, from believing in yourself and fickle lovers to chosen family and loss.

Look At Us Now is a pop record infused with nineties house, dance and disco, but we also spot a ballad (Miss You The Most) and two Scandi-pop tracks: Like You, an ode to love and Darker Days, an epic track that will pull you through bleak periods with panache.

"I wanted to make a record that makes people feel good about themselves," Gustaph says. "One that they put on while getting ready to go out or just to start the day. A little pick-me-up that makes them think: Yes, now I can kick ass."

When you play the record for the first time, you'll already be able to sing along to a bunch of tracks: there's Because Of You of course, butalso more recent singles like Already Know, Faith In What You Feel and Calls Your Name.

The record was produced in London with Richard X, known for his work with Róisín Murphy, Alison Goldfrapp and Pet Shop Boys, among others. "That's very close to who I am as an artist, so that collaboration just made sense," Gustaph explains.

Look At Me Now sounds like a party where everyone is welcome. The club tour kicks off at Ancienne Belgique. Come celebrate!

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Soul Gem Alert !!!! - A timeless track by The Lost Gernation, "This is the lost gerneration" was issued back in the days , but is very very rare and never seen. Hipnotic groove and superb vocals - A must have 45. Our release includes an Instrumental cut that just give that groove another lift, an essential 7" release.

6 soulful house jams with hard hitting kicks, squelchy acid lines, lush keys and more soul than you can shake a stick at.

Originally released in 1971, produced by the legendary Sandy Roberton and featuring the likes of Richard & Danny Thompson, Keith Christmas and members of Mighty Baby & Fotheringay, the album has been talked about in glowing terms by an ever increasing fanbase over the years & is highly sought after. It’s a beautiful mixture of folk, psychedelic flourishes and adventurous production combining majestically with Shelagh’s exquisite songwriting and purity of voice. It will immediately appeal to fans of Pentangle, Incredible String Band and Joni Mitchell, as well as the solo records from members of some of the biggest U.S. bands of the 1970s; David Crosby’s ‘If Only I Could remember My Name’ and Gene Clark’s ‘No Other’, and is presented here for the first time ever on vinyl re-issue.

Born in Edinburgh in 1948 before moving to Glasgow and attending the Glasgow School of Art, Shelagh McDonald’s reputation grew rapidly on the London and Bristol folk circuit, gaining a cult following. In her early twenties she cut her first album titled simply ‘Shelagh McDonald’, the following year entering the studio with producer Sandy Roberton (Ian Matthews, John Martyn, Chocolate Watch Band, Steeleye Span) to cut ‘Stargazer’. Unfortunately for Shelagh, following a bad LSD experience, she withdrew from not only the music industry but public life shortly before commencing work on her third album.

However, it is ‘Stargazer’ that continues to grow its reputation, with original copies changing hands for hundreds of pounds.

Imbued with the finest instrumentation and vocal delicacy in late ‘60s folk, the record is heightened by a progressive production approach; the slow organ grooviness in the traditional ‘Dowie Dens of Yarrow’, uplifting gospel overtones of ‘Odyssey’ and the perfect match of melancholic piano and haunting strings by Robert Kirby on the title track. These sublime arrangements all serve Shelagh’s songwriting and soulful voice that invoke the finest folk traditions but at the same time look forward.

The album is the inaugural release on new label Different Strokes For Different Folks with more genre bending, rare and cult records scheduled for 2025.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

This special release marks the 20th anniversary of The Grind Date. The LP is available on limited edition splatter vinyl with the original album bolstered with 4 instrumental versions of the leading tracks. Meanwhile the 2CD also includes 2 brand new tracks which were recorded during the same sessions as The Grind Date. These never before released tracks entitled ‘Respect’ and ’Bigger’ perfectly compliment what is already a renowned album. "The Grind Date" is the sixth studio album by De La Soul, released in 2004. The album marked a significant return for the group after a hiatus since their previous album in 2001. It showcases De La Soul's signature blend of clever lyrics, innovative production, and a mix of playful and introspective themes. The album includes a plethora of exciting featured artists including MF Doom, Ghostface Killah, Flava Flav and Sean Paul.

Horace Silver had been delivering hard bop classics for over a decade when he moved into more groovy territory in the late-’60s on albums including Serenade to a Soul Sisterfeaturing two different quintets performing a set of Silver originals from the high-octane ‘Psychedelic Sally’ to the groove waltz title track to the tender ballad ‘Next Time I Fall In Love’. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Strut Records is proud to announce a new official reissue of Simigwa by Gyedu-Blay Ambolley, launching a series of releases on Strut celebrating the legendary Ghanaian label Essiebons.

Essiebons, founded by Ghanaian music producer Dick Essilfie-Bondzie in 1959, is one of Ghana's most important independent labels featuring prominent artists such as Gyedu-Blay Ambolley, C.K. Mann, and Ebo Taylor. Ambolley’s Simigwa is a groundbreaking album, recognised as a Ghanaian classic and boasting one of the most iconic covers of the 1970s. Originally released in 1975, the album introduced Ambolley's unique "Simigwa" style, which combined highlife with funk and soul, influencing the evolution of a new generation of Ghanaian artists.

This new Strut LP reissue features an exclusive interview with Ambolley himself, offering fresh insights into the creation of this classic album.

Gyedu-Blay Ambolley’s innovative fusion of highlife with influences from American soul and funk solidified his position as a key figure in Ghana’s vibrant 1970s music scene. His solo career followed work with iconic bands such as Houghas Extraordinaires, Meridians of Tema, Ghana Broadcasting Band and the Uhuru Dance Band. Inspired by the legendary James Brown, Simigwa delivers infectious rhythms, dynamic horn sections, bold vocal stabs, and mesmerising percussion breaks. An enduring classic for all fans of highlife and Afro-funk.

Nachdem sie letztes Jahr die französischen Charts im Sturm erobert hat, ihr Debütalbum das meistverkaufte Jazz/World-Album des Jahres in Frankreich war und sie in mehreren Ländern wie Japan, Deutschland, Kanada und den USA, faszinierende Live-Auftritte hatte, meldet sich Gabi Hartmann nun mit ihrem neuen Album 'La femme aux yeux de sel' zurück. Auf den 13 Liedern, die größtenteils auf Englisch und Französisch gesungen werden, bewegt sie sich erneut zwischen verschiedensten Stilen und vermischt Jazz, Pop, Folk und Soul. Die Titel, manche melancholisch, manche farbenfroh und manche voller rhythmischer Energie kreieren eine ganz eigene Welt, in der man aber auch immer wieder die großen Vorbilder Mercedes Sosa oder Miriam Makeba entdecken kann. So hat Gabi Hartmann mit ihrem warmen, klaren Timbre ein sehr persönliches und facettenreiches Album geschaffen, das Grenzen und Stile vermischt und in Gabi Hartmanns eigene Traumwelt entführt.

ProleteR, French producer and iconic figure in the international electro swing and swing hop scene, makes a strong return with a highly anticipated new album. Announced and available for pre-save on streaming platforms five months before its release on March 14, 2025, Temperamental Cats promises a unique musical journey through genres, blending jazz samples, hip-hop rhythms, and electro-soul melodies, while showcasing the distinctive style that has earned this independent beatmaker over 200 million streams across platforms.

Temperamental Cats affirms ProleteR's desire to mix genres, eras, and cultures. This new album will feature American rapper Napoleon Da Legend, Canadian artist Spark Houston, and Japanese producer Takada Fu.

ProleteR is also preparing for his grand return to the stage with a tour titled Swing Hop Party. This will be an opportunity for his fans to see him live, accompanied by a brass section, for a timeless moment driven by his expert patchwork of samples and the rhythms that have made him famous.

Jetzt gibt es endlich das Debutalbum "Rapper's Delight" der Ausnahmeproduzentin Melbeatz. Obwohl Optik's First Lady bis jetzt noch keinen eigenen Release veröffentlicht hat, wählten sie die JUICE Leser zwei Jahre in Folge auf Platz 1 (2004) und Platz 2 (2003) in der Kategorie "Best Producer". Kein Wunder, da sie ja unter anderem das Top 10 Album "Der Beste Tag Meines Lebens" von Kool Savas komplett alleine produzierte.
"Rapper's Delight" sollte eigentlich ihre erste eigenständige Eintrittskarte für den deutschen Markt werden, möglicherweise beinhaltet es aber bereits das Ticket bis in die USA. Der internationalen Qualität ihrer Produktionen wegen genauso, wie dank der Unzahl höchst prominenter Gastfeatures: Kanye West (verantwortlich für diverse US-Billboard-No.1´s), Mobb Deep, die Alkoholiks, Ol´ Dirty Bastard oder Thirstin Howl (um nur einige zu nennen) haben sich alle einen höchst eigenständigen Beat der Künstlerin gepickt. Hochkarätige deutsche Gäste wie Xavier Naidoo, Curse, Cassandra Steen (Glashaus), Eizi Eiz (Beginner), Mieze von Mia, die komplette Optik Army und nicht zuletzt die lang antizipierte Berlin-Hamburg-Kollabo Kool Savas-Samy Deluxe machen das Line Up komplett.

Inspiriert von der Kohlebergbau-Kultur im Nordosten Englands, präsentiert The Futureheads-Sänger/Gitarrist Barry Hyde eine Songsammlung mit traditionellen Liedern aus dem volkstümlichen Erbe der Bergwerkskultur, interpretiert im typisch englischen, Gänsehaut erzeugenden Arbeiter-Soul-Folk, teils mit nordenglischen Akzent.

Reinventing himself as a vocalist on his new album 'Silver Blue', Pomrad fuses 80s fusion funk, raw electro-dance, and 90s rave grooves to craft his unique style of cosmic crooners. For Fans of Prince, Hudson Mohawke and Herbie Hancock.

Drawing inspiration from a wide range of genres, the record pays homage to the iconic African American productions of the '80s-such as Prince, One Way, the Gap Band, and Whitney Houston-while also nodding to UK-styled genres like Street Soul (The Antipode), '90s R&B (Is It True) or even grotesque 2-step (Sad Dancer).

Throughout the album, layered synth textures from instruments like the Yamaha DX7, RolandD-50, Simmons SD-5, and Korg Opsix create otherworldly atmospheres (Silver Blue), as tracks swing from the playful funk naivety of an '80s TV show intro (How It Feels) to corny synth ballads (Sweet Dear Lucky) or happy clapping turned hardstyle (Suzy Got Lost).

Pomrad wrote the songs over the past few years in his home studio in the Antwerp area. After a seven-year hiatus, following his collaboration with Onra, he returns as a fearless singer and storyteller with a distinctly Belgian surrealist flair.

Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.

Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.

This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.

This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.

This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.

A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.

In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.

A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers. The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024. Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score. “What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said. The package includes an insert.

The third album by the rising star that is Aran Angmar: 'Ordo Diabolicum'
explores darkness not as a void but as a realm where truth reveals itself,
boundaries shatter, and human freedom emerges
A sonic descent where chaos reveals liberation. A Black Metal ritual.

The third album by the rising star that is Aran Angmar: 'Ordo Diabolicum'
explores darkness not as a void but as a realm where truth reveals itself,
boundaries shatter, and human freedom emerges
A sonic descent where chaos reveals liberation. A Black Metal ritual.

"The Most Famous Sports Team in History ON RECORD...
Inspired by the smash hit “Sugar Sugar”, by the cartoon pop band The Archies, CBS TV were only too keen to sign-up Don Kirshner’s Globetrotters recordings as the soundtrack to the all-new Saturday morning Harlem Globe Trotters cartoon series that ran from 1971-72.
The TV series – the album and companion singles – were a huge commercial success and 22 episodes were produced by Hanna-Barbera. It was the first Saturday morning show to feature an African-American cast and the soundtrack was suitably soulful, upbeat and funky. One of the main writers, James Ralph Bailey, was a former member of the Cadillacs and famed for penning songs for Main Ingredient and Isaac Hayes. Bailey is also none other than Chuck Wood, writer and singer, of the Northern Soul anthem “Seven Days Too Long”.
With guest vocals by Globetrotter legend Meadowlark Lemon this exclusive vinyl reissue will certainly set the ball rollin’!
* Produced by Brill Building legend 
* JEFF BARRY (writer of ten U.S. #1’s) 
* Written by Barry, Neil Sedaka, Howard Greenfield and James R Bailey 
* Soundtrack to the Hanna-Barbera hit TV series with a global audience 
* The most famous team in sports history
* First Release since 1971"

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Mongolian hip-hop producer Bodikhu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.

This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

Worldship Music returns for 2025 with a brand new various artists EP sure to set all soulful dancefloors on fire. The second installation of the Herald Traccs series welcomes back label stalwarts Roberta and Trilaterals while bringing Reelsoul into the fold as well, of course alongside a cut by imprint head Teflon Dons.

Reelsoul kicks proceedings off with a stunningly beautiful version of an all time classic jazz inflected dance jam “La Costa”. Leaning into the sophisticated vocal harmonies, a bed of warm instrumentation carries this familiar joint seamlessly into the modern era. New crowds and veterans alike will be swept away on an unforgettable lover’s holiday to the seashore.
Trilaterals come through in full on party mode on “Flo Jo”. Filtered and chopped samples from a funk staple are twisted into a swinging groove that will have house dancers going off. The stripped back arrangement teases with energy before exploding into dancefloor ecstasy. Adept sample spotters will be sure to get the title reference, a wink and a nod to two legends of black American culture.
Teflon Dons can’t help but put their underground edge into the music, with “DONTWANTU2GO”’s tough drums immediately signaling the late nite intentions of this banger. Pleading vocals and pitched chords add a twinge of that distinctive deep house melancholy before the strings drop in and take the jam to the next level.
Roberta is a perfect choice to end the EP with the smoky jazz club vibes of “Hang Back”. Gritty drums and electric piano riffs provide the hypnotic backbone, while flute and vibes add funky flourishes on top. This is the kind of cut that is sure to elicit whoops of joy from exhausted dancers catching a second wind thanks to its undeniable electricity.

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

Known as one of the leading voices in the European roots scene, Ina's explosive live
performances and powerful, honey- dripping vocals have captivated audiences for
over a decade. With this new release, she takes listeners on an emotional and groovy
journey of rediscovery and resilience.
Recorded in Helsinki with a team of Finnish musicians and produced by Michael Bleu
and Ina, After Dark Hour is steeped in Retro Soul, Funk, Motown-inspired grooves, and
R&B. The energy of live performance was a driving force behind the album's creation.
"I wanted to make songs that would be fun to play live, songs that would make people
leave my shows sweaty and smiling,"
The title track, After Dark Hour, was the spark that reignited her creativity after over a
year of writer's block. "I was going through it--what I call the postpandemic blues. I
couldn't get myself to write songs or even listen to music. Then one day, I wrote the
title song, and it was like magic. It was such a relief to know I still had it in me after a
year of not having it. After dark hour represents the first moment you see the light
coming through the blinds you've been keeping shut. It's the feeling
that things are finally getting better."
The album takes listeners through an eclectic mix of soul sounds, from sultry power
ballads to James Brown- style funk explosions, tender sweet soul, and uptempo
Motown grooves. The lush production includes cinematic strings, bold horns, and
gospel-like backing vocals, all serving as a backdrop to Ina's signature vocals.
Ina has been performing since she was 17, dedicating her career to crafting music
that blends classic soul with her unique voice and vision. With After Dark Hour, she
delivers an album that invites listeners to dance through life's darkest moments.

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

The complete album - pressed on limited edition 180g vinyl

Tenor saxophonist Ben Webster (1909 - 1973) had already enjoyed a long and fruitful
career by the time this 1957 session was recorded. However, as Bob Blumenthal
explains in the original liner notes, he still wasn't known for the sensual ballad feeling
that became his trademark during the last two decades of his life. At that time, he was
still recognized for the hard blowing fast tenor sax style he played with both the Duke
Ellington Orchestra and his own multiple small groups.
Even though his repertoire was generally linked to that of Duke Ellington, this classic
Norman Granz produced session presents Webster playing four popular ballads and
two of his own bluesy compositions, Soulville and Late Date. On hand in support are
the incredible Oscar Peterson Trio (Herb Ellis, Ray Brown), and drummer Stan Levey.
"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve
label. This 1957 date with the Oscar Peterson Trio is one of the highlights of that
golden '50s run. After starting off with two bluesy originals, Webster gets to the heart
of things on five wistful ballads. Providing sympathetic counterpoint, Peterson
forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -
guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey - are equally assured
and splendid. Newcomers shouldn't hesitate to start here." - ***** Stephen Cook,
AllMusic

Motown producer and songwriter Norman Whitfield assembled The Undisputed Truth to further explore the psychedelic soul he had been developing with the Temptations on songs like ‘Cloud Nine’ and ‘Psychedelic Shack’.

Joe Harris, Billie Calvin and Brenda Evans were assembled as the vocal front-line and their first single was ‘Save My Love For A Rainy Day’/’Since I’ve Lost You’ that was released on Gordy in February 1971 and got to #43 on the R&B Chart.

It was followed by ‘Smiling Faces Sometimes’/’You Got The Love I Need’ that was a massive hit single getting to #2 R&B and #3 on the Billboard Hot 100. Their debut album The Undisputed Truth followed and not only contained all four tracks issued on 7” but an almost interstellar version of ‘Ball Of Confusion (That’s What The World Is Today)’, ‘I Heard It Through The Grapevine’ as well as a very soulful prowl through Bob Dylan’s ‘Like a Rolling Stone’. Tracks like ‘California Soul’ and ‘Aquarius’ also ticked the psychedelic soul box. All told it was a fantastic debut and sold strongly.

Amazingly this fantastic album has not been repressed since 1972. Thus Ace are delighted to put it back into the record racks pressed on 180gm black vinyl.

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

We're excited to announce Discos Martos' second release: a 45-vinyl single from Rocksteady Romantics, celebrating the irresistible sounds of…you guessed it…rocksteady. True to the label's dedication to analog productions, this release offers what Jamaican music culture is known for: Dub music and classic soul covers in its own style.

The A-side features a fantastic dub track featuring Tibstar, designed for loud soundsystems and clubs. With its catchy and powerful horn section, this track is guaranteed to get the dance floor moving.

On the B-side, the band presents a lovely Spanish version of the classic soul tune "I'm Your Puppet," sung by Tito Ramírez. This fresh interpretation blends the original's charm with a rocksteady twist.

With this release, Discos Martos continues to honor timeless sounds while infusing them with contemporary energy.

Als Karl Wallinger Mitte der 80er die Waterboys verliess, um World Party zu gründen, brauchte es einen einzigen Song, um die Fans davon zu überzeugen, dass dies kein Nebenprojekt war. Dieser Song, "Ship Of Fools", ist zusammen mit "Is It Like Today?", "Way Down Now", "Put The Message In The Box" und "She's The One" auf dieser ersten weltweiten Veröffentlichung des 17 Songs umfassenden Greatest Hits-Pakets "Best In Show" auf Yellow & Red Double Vinyl im Gatefold zu finden, das sich aus den besten Songs aus den Alben "Private Revolution", "Goodbye Jumbo", "Bang!", "Egyptology", "Dumbing Up" und "Arkeology" zusammensetzt.

PS: Eine gleichnamige 13-Track-Best-Of-CD erschien 2007 ausschliesslich in Australien & USA. Das Vinyl ist eine Erstveröffentlichung und enthält den zusätzlichen Bonustrack "Best Place I've Ever Been".