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The legendary soundman and record producer, Lloyd Coxsone, began his career in the 1960’s soon after arriving from Jamaica. He was one of the first soundmen to play at West End clubs where a generation of British pop stars like the Beatles and the Rolling Stones first heard music from Jamaica. Sir Coxsone sound then dominated the seventies, when Bob Marley & Dennis Brown were among his greatest allies, as heard on unforgettable dub-plates from that era.



He formed the Tribesman Label and issued King of the Dub Rock before recording the likes of Fredlocks, Willy Stepper & Jimmy Lindsay. King of the Dub Rock 1 & 2 are recognized as reggae classics. They not only feature Lloydie’s own productions but also riddims by Jamaican producer Gussie Clarke and heavyweight dubs by mix master Scientist. On King of the Dub Rock 3, Lloydie teams up with Jahsolid Rock Music, who’s albums with Brinsley Forde, Apple Gabriel and Earl 16 were regularly heard on Sir Coxsone playlists. This album features exclusive dub mixes and vocal tracks from these artists plus brand new tunes by Mutabaruka, Chezidek, Micah Shemaiah, Var & Ras Teo.



King of the Dub Rock 3 is an essential companion for all Coxsone fans wanting to complete the trilogy. It delivers such a high standard of musical quality that it promises to be a modern day classic!

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

Color Vinyl

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.

Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Billy Gibbons, David Gilmour, Pete Townshend, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and Jeremy Spencer. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Jonny Lang and Ricky Peterson.

Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music. Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’...”

Crammed's legendary MADE TO MEASURE Series of New Music was described at the time as the aural equivalent of a collection of art books. Charting a map of some of the most interesting instrumental music of the era, thirty-five albums came out between 1983 and 1995, including works by artists such as Hector Zazou, John Lurie (his soundtracks for the Jim Jarmusch films), Fred Frith, Arto Lindsay, Zelwer, Steven Brown, Peter Principle, Harold Budd, Brion Gysin, David Cunningham, Benjamin Lew, Ramuntcho Matta, Karl Biscuit, Daniel Schell, Aksak Maboul, Minimal Compact and more. The loose idea behind the title of the series was: this is music which has been or could have been "made to measure" as a soundtrack for other media (film, theatre, dance, video). We'll also be rolling out selected vinyl reissues of some of the series' classic early releases, starting with the inaugural volume, MADE TO MEASURE VOL. 1, the multi-artist album from 1984, containing music created by Minimal Compact, Benjamin Lew, Aksak Maboul and Tuxedomoon for films, theatre plays and dance performances.

LEGENDARY SESSION ! FIRST TIME EVER ON VINYL AND CUT DIRECTLY FROM THE ORIGINAL MASTER TAPES WITH NO DIGITAL PROCESS WHATSOEVER!!!

TIP ON SLEEVE PRINTED JUST LIKE THE OLD NIMBUS LP’s FROM THE 70’s and 80’s… BRAND NEW ARTWORK FROM ORIGINAL SESSION PHOTOS AND LINER NOTES BY Mark Weber

At long last…On Vinyl…From original tapes. 3/5ths of the Quintet that recorded "‘the Giant is Awakened’ LP in 1969…this album sat unreleased for 20+ years before it saw a small run on cd (with poor mastering the early 2000’s), now, 40 years after it was recorded, finally released in the original format it was intended for….This LP sounds fresh and amazing…if you’ve only heard the cd, you’ve not truly heard this lost gem in its full glory. edition of 500




Born in Mississippi in 1937 and beginning to play the saxophone at 14, Billie Harris relocated to Los Angeles in 1965 after a 4 year stint in the Air Force, becoming one of the great, unsung forces of underground jazz in the city for many years (he later relocated to the Mojave Desert, where, at last record, he still plays in a church band). A Venice Beach street musician and longtime member of the Pan Afrikan Peoples Arkestra - you can hear him playing on Live at I.U.C.C. and Flight 17, as well as Jesse Sharps Quintet & P.A.P.A.’s Sharps and Flats (reissued in 2018) - he was also director of the AZZ IZZ jazz club in Venice Beach during the 70s.




On April 29 and May 3, 1980, Harris entered the studio, backed by Horace Tapscott on piano, David Bryant on bass, Daa’oud Woods on percussion, and Everett Brown Jr on drums, recording, over those two days what was to be his only outing as a leader. Once heard, the tragic lack of further material can’t be ignored. It is a truly stunning piece of work, even more surprising for the fact that it sat unreleased for over 20 years, only to be released as a small, poorly mastered edition on CD during the early 2000’s. Now, finally appearing very first time on the format and label for which it was intended, 40 years after it was recorded, we can hear this lost gem in all its glory.




Harris was 43 years old at the time of the Nimbus West sessions that resulted in I Want Some Water, and the power and experience of his playing, honed over three decades, shows in full force. The band is equally imbued with power, sensitivity, and experience. Tapscott, Bryant, and Brown’s working partnership goes back to 1969, when they recorded Tapscott’s debut as a leader, The Giant Is Awakened. In quintet’s hands, channeling the heavy modal relationships pioneered by Coltrane, heavy spiritual groove lock and unfurl, threaded by the release via incredibly forward-thinking improvisation.




Like so much of the work that came out of the Pan Afrikan Peoples Arkestra scene, I Want Some Water has a giant sound, each track long in length, building slowly over time toward towering heights that leave the listener immersed in one of the greatest treasures of spiritual jazz that almost nobody ever heard. Rhythmic, rollicking, and tonally inspired, the joyous interplay of the band goes deep, locked in, and challenging the predictable path, while making nods to numerous, discreet traditions of music.




As far as reissues go, Nimbus’ first ever vinyl pressing of Harris’ I Want Some Water is about as good as it gets. Not only does it deliver some of the best music we’ve heard all year, but it takes huge steps toward allowing a crucial artist to be celebrated in a way that he’s always deserved.

Cut directly from the original master tapes, featuring brand new artwork from the original sessions and liner notes from Mark Weber, and issued in a limited edition of 500 copies, it’s an absolute must that can’t be missed.

‘Pacific Kiss’ is the fourth album from Australian musician David West’s underground pop band, Rat Columns. It was engineered by Griffin Harrison and DW in New York City and Perth, and mixed by Mikey Young in Victoria. ‘Pacific Kiss’ sees Rat Columns plunging headfirst into an azure sea of power pop, rock’n’roll and indie. The tones are bright and optimistic, though fans of confusion and gloom will still find solace in the album’s darker moments, of which there are a few. Rat Columns emerged from San Francisco via Perth, Western Australia in the late 2000’s with the mope ’n’ jangle of their first self-titled cassette release, from which several tracks were drawn for their first vinyl release, a four-song 7” on the San Francisco based indie label, Smartguy Records. From that moment, DW and a constantly evolving troupe of friends and co-conspirators have forged a persistent trail of albums and EP’s on a number of interesting small labels such as RIP Society, Upset The Rhythm, Blackest Ever Black, Syncro-System, Adagio 830 and now the London-based Tough Love Records, who have also released many of David’s eponymous pop records. DW has also found time to play in a number of other interesting outfits, such as Rank/Xerox, Lace Curtain, Liberation, Scythe, Total Control and Burning Sensation over the years. ‘Pacific Kiss’ was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. ‘Pacific Kiss’ is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

‘Pacific Kiss’ is the fourth album from Australian musician David West’s underground pop band, Rat Columns. It was engineered by Griffin Harrison and DW in New York City and Perth, and mixed by Mikey Young in Victoria. ‘Pacific Kiss’ sees Rat Columns plunging headfirst into an azure sea of power pop, rock’n’roll and indie. The tones are bright and optimistic, though fans of confusion and gloom will still find solace in the album’s darker moments, of which there are a few. Rat Columns emerged from San Francisco via Perth, Western Australia in the late 2000’s with the mope ’n’ jangle of their first self-titled cassette release, from which several tracks were drawn for their first vinyl release, a four-song 7” on the San Francisco based indie label, Smartguy Records. From that moment, DW and a constantly evolving troupe of friends and co-conspirators have forged a persistent trail of albums and EP’s on a number of interesting small labels such as RIP Society, Upset The Rhythm, Blackest Ever Black, Syncro-System, Adagio 830 and now the London-based Tough Love Records, who have also released many of David’s eponymous pop records. DW has also found time to play in a number of other interesting outfits, such as Rank/Xerox, Lace Curtain, Liberation, Scythe, Total Control and Burning Sensation over the years. ‘Pacific Kiss’ was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. ‘Pacific Kiss’ is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio gets to vote for their favorite all-time songs. These literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Years Eve, when they air the No.1 of the chart.

Top 2000 - The 60’s contains the best hits from the century in which the music industry saw its biggest change. It were the years some of the biggest bands in the history of music rose to fame, like The Beach Boys, The Kinks, The Who, and Fleetwood Mac. Rock, pop, funk, soul and psychedelia all stand side by side on this release, with artists like James Brown, Nina Simone, David Bowie, Etta James, Elvis Presley, and Dusty Springfield. These artists and many more you’ll find on this wonderful 2LP.

The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more that half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience.

Top 2000 - The 60’s is available as a limited edition of 2000 individually numbered copies on yellow vinyl. The package includes an insert.

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.

Vor eineinhalb Jahren war er noch Tellerwäscher in einem Restaurant in Fort Worth, vor drei Monaten jagten vierzig Plattenfirmen nach seiner Unterschrift. Nun, im Frühling 2015, steht Leon Bridges vor der Veröffentlichung eines DER Alben, die mit Spannung erwartet werden. So musste zuletzt beim diesjährigen SXSW Festival in Austin beim seinem Konzert hunderten Besuchern wegen Überfüllung der St. David's Episcopal Church der Eintritt verwehrt werden. Doch wie war dem extrem schüchternen, 25-jährigen Texaner, der mit seinem Look und Sound den Soul der Prä-Beatles-Ära aufleben lässt, in der kurzen Zeit dieses Kunststück nur geglückt Leons große Liebe war eigentlich das Tanzen und so absolvierte er zunächst eine Ausbildung als Choreograph. Auf die Idee, irgendwann einmal selbst Musik zu machen, wäre er damals nie gekommen. Seine eigene Musikerkarriere begann Leon Bridges mit dem Schreiben einfacher Songs und trat bei "Open Mic"-Abenden im Großraum seiner Heimatstadt auf. Im Laufe der Zeit entwickelte der junge Texaner dann ein Faible für perfekt nuancierten Retro-Soul und -Gospel, der ihm Vergleiche mit seinen Helden Sam Cooke, Percy Sledge und Otis Redding bescherte.