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On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

To celebrate the 40th anniversary of his recorded music career, Cherry Red is both proud and delighted to release a brand new ‘Very Best Of’ compilation to mark this momentous occasion.

For his 40th anniversary, Howard wanted to create a truly unique collection. ‘Celebrate It Together The Very Best Of Howard Jones 1983-2023’ is the first anthology that looks at his entire catalogue, from the original version of “New Song,” all the way to a 2023 Elephant Talk remix of it that recasts it within a modern electronica context. It includes songs from his classic Warner-era catalogue, as well as work from his independent Dtox label. For ‘Celebrate It Together’, Howard has personally chosen to group the songs into four categories: “Popular Hits,” “Electro,” “Chill,” and “Curiosities.”

He wanted to elevate this selection of songs beyond the typical chronological approach and create themes that mix and match different pieces from different eras, with the overall listening experience top of mind. Released on three different formats, this deluxe 2CD digipack contains 35 remastered tracks. Featuring a comprehensive collection of hit singles, remixes, key album tracks, alternative and live versions. Packaged in a deluxe digipack featuring brand new photos of Howard. Includes a previously unreleased track and a further 3 tracks previously unreleased on CD.

12 page fully illustrated booklet containing brand new photos plus a brand new sleevenote where Howard in conversation with Anil Prasad reflects upon the 40 years of his recorded music career.

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer & songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District. The album is a reference to Jallad’s Historic Preservation master's thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976. Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today. The album comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians. In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut. The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence. Limited edition of 300 copies. 140gsm vinyl pressed at Microforum (Canada).

Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.

»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two co-founders of the CRTTR collective and label during an artist residency in May 2022 in their home town of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole.

Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques.

These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation.

This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.

»Tropic of Capricorn« is the second album by Lawrence English and Werner Dafeldecker. Based on field recordings made by the prolific Room40 owner that were subtly but decisively altered with electroacoustic techniques through the German improv legend, these two long-form pieces blur the lines between acoustic ecology and aesthetic interventions, concrete local sound worlds and boundary-defying art. They put a focus on our relationship with nature as listeners as much as they call into question where nature ends and human perception begins. They are deeply confusing, disorienting perhaps, in the most beautiful ways.

English recorded the material that form the basis of the duo’s Hallow Ground debut on two different field trips. One led him from the Western coast to the Pilbara region in the North of the country called Australia, the other to the central desert into the lands of the Arrernte people. »These are vast spaces, and in some respects they shun contemporary ideas of civilisation which seek not to listen to the country,« says English. When recording the soundscapes, the artist put a focus on the residues of failed colonial aspirations. »The buildings and objects that remain from the failed cattle pastures and other endeavours create uneasy sound worlds of their own,« he says of the regions that are also places of extraction, especially the heavily mined Pilbara. »There is a distant drone of industry in even the most remote of places; an unsettled sense of heavy breath on the land.« He brought home a document of natural reclamation in time.

The rich source material was then given to Dafeldecker. Spatialising the recordings with transducers applied to different surfaces such as wood, stretched animal skin, glass, or metal surfaces and also re-recording parts of the recordings, he created discrete events that were inserted into, or rather enmeshed with English’s recordings. You’ll hear plenty of birdsong, insect noises and the sound of rain during these 39 minutes; the sounds of a life you can tap into if you tune into your environment. But there are also other things, things that are impossible to categorise even after repeated listens and that call into question whether or not those were really birds, insects, or the sound of rain in the first place. What »Tropic of Capricorn« invites its listeners to listen beyond the preconceived notions of how nature is supposed to be represented in sound and to instead embrace the immediacy of the sensation.

"Reptile Brain Music" - Imperial State Electric's third studio album was originally released in 2013.
Clocking in at a little over 33 minutes RBM boasts a dozen tracks of their particular and peculiar rock'n'roll.
The album is bookended by two high-energy live favorites, "Emptiness into the Void" and "Down in the Bunker" in a classic Andersson style. However, the less obvious songs within also reveal some unexpected treats. The heavy Blackmoresque "Faustian Bargains" showcases some unexpected time signatures. "Dead Things" feels like Beatles meets horror movie soundtrack (Fred Estby contributes lyrics). While the frantic "Born Again" is far from pieous, delivering a blistering blow to religion.

RBM also shows the further development from solo project into a full-fledged band with multiple songwriters and different lead vocalists. Tobias Egge opens new doors with his contribution "Stay the Night" and Rudolf de Borst screams lead vocals for the wonderfully primitive title track - "Reptile Brain".

Recorded at Gutterview Recorders, mixed by Fred Estby & Nicke Andersson & produced by Nicke Andersson.
Originally released on Warner Music and promptly "Out of Print" fans have been clamoring for a reissue.
From the press release 2013 "Imperial State Electric is entering phase 3 in its ongoing battle against mediocrity.
An endless quest to make the rock roll".

Released in 1996, Le Onde "The Waves" was the first solo piano album released by Ludovico Einaudi. The incredible work featured the following quote from the man himself. "If it were a story it would be set on the seafront of a long beach. A beach without beginning and without end. The story of a man who walks along this shore and perhaps never meets anyone. His gaze lingers occasionally to look at some object or fragment brought from the sea. The footprints of a crab or a solitary seagull. I always take the sand, the sky, some clouds, the sea. Only the waves change, always the same and different, smaller. larger. Shorter. Longer." Now released on Blue Vinyl for the very first time.

Released in 1996, Le Onde "The Waves" was the first solo piano album released by Ludovico Einaudi. The incredible work featured the following quote from the man himself. "If it were a story it would be set on the seafront of a long beach. A beach without beginning and without end. The story of a man who walks along this shore and perhaps never meets anyone. His gaze lingers occasionally to look at some object or fragment brought from the sea. The footprints of a crab or a solitary seagull. I always take the sand, the sky, some clouds, the sea. Only the waves change, always the same and different, smaller. larger. Shorter. Longer." Now released on Blue Vinyl for the very first time.

"Reptile Brain Music" - Imperial State Electric's third studio album was originally released in 2013.
Clocking in at a little over 33 minutes RBM boasts a dozen tracks of their particular and peculiar rock'n'roll.
The album is bookended by two high-energy live favorites, "Emptiness into the Void" and "Down in the Bunker" in a classic Andersson style. However, the less obvious songs within also reveal some unexpected treats. The heavy Blackmoresque "Faustian Bargains" showcases some unexpected time signatures. "Dead Things" feels like Beatles meets horror movie soundtrack (Fred Estby contributes lyrics). While the frantic "Born Again" is far from pieous, delivering a blistering blow to religion.

RBM also shows the further development from solo project into a full-fledged band with multiple songwriters and different lead vocalists. Tobias Egge opens new doors with his contribution "Stay the Night" and Rudolf de Borst screams lead vocals for the wonderfully primitive title track - "Reptile Brain".

Recorded at Gutterview Recorders, mixed by Fred Estby & Nicke Andersson & produced by Nicke Andersson.
Originally released on Warner Music and promptly "Out of Print" fans have been clamoring for a reissue.
From the press release 2013 "Imperial State Electric is entering phase 3 in its ongoing battle against mediocrity.
An endless quest to make the rock roll".

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.

mule musiq welcomes british producer jimmy wallace, presenting his debut album “red, yellow, black” - a nine track strong record that partly leaves the dancefloor behind.

since childhood, music has been a strong influence on the 33-year-old artist. his mother, a music teacher, exposed him to classical sounds from an early age.

but it was hearing the electronic tones of the french touch movement, which really ignited his mu-sical journey. a year later he started to dj, acting out his love for four-to-the-floor grooves in local clubs. today you'll find him on the bill with artists like ruf dug, mr scruff, or bradley zero, heating up the dance floors.

as a producer he has already released a handful of stunning eps, including one for sweden’s finest house label studio barnhus, and one for london’s revered rhythm section international imprint.

both feature house tunes with an edge, house tunes with a love for the roots of the genre along-side more reflective, ambient moments. he also runs the label tartan records, where he publishes dancefloor focused white labels.

his music has been championed by titans of the scene such as palms trax, ryan elliott, dj tennis, gilles peterson, dixon, and hunee. axel boman even coined his debut ep as “one of the very best demo emails ever received at label studio barhnus hq”.

an advance praise, that wallace now acknowledges with an album full of deeply crafted music. some tracks lean towards the dancefloor, like the swung sounds of “bubbles”, the hypnotic mael-strom of “good morning”, or the epic, jazzy moments of “labyrinth”.

the theme of nature is evident throughout, with field recordings and environmental sounds he rec-orded on the road, being fused with his own musical ideas.

tracks like “waterfall” and “tokyo street”, draw influence on time spent in asia, whereas "dhq", "by the river", and "by the lake" are inspired by his childhood and hometown in the shropshire country-side. “i’ve been writing ambient and more nature focused material for a few years now without really having a plan for it.

finally, this year after writing the tune “labyrinth” i felt i had a body of work which was both diverse and cohesive enough to bring together on a record. so, the album represents moments of time i have spent in various outdoor spaces around the world, using sound to try and turn these experi-ences into musical format.” wallace discloses.

the result is a mesmerizing long player featuring an evocative, emotional story arc that avoids ste-reotypes and straight party orientated narration. “having written plenty of club music for the past few years, i wanted to show a different side to my sound.

something more intimate, private, experimental which can be listened to away from the party.” he reveals on the meditative, blissful “red, yellow, black” - an album, which has the power to transport listeners to places and spaces new – for inspiration, relaxation, and dancefloor moments off the beaten path

On their debut EP, Sam De Nef and Camille Camille delve into some of their most personal and introspective songwriting yet. These songs showcase their individual talents but also highlight the powerful synergy that arises when two gifted artists and unique vocalists join forces to create something truly special.

Sam and Camille are two unique and talented artists hailing from Belgium who share a gift for writing compelling contemporary folk and singer-songwriter songs. They both released acclaimed debut albums in recent years and have been crossing paths on numerous occasions. Camille appeared in duets on Sam's debut EP and his first album, Sam featured in Camille's live band, each time expressing a profound musical chemistry.
This collab EP seemed the logical next step, uniting their talents to craft an EP embodying heartfelt, warm, and uncomplicated songs.

"In the collaborative journey of crafting the songs on Waving, our different creative approaches brought about a unique synergy. We feel the result transcends our individual styles. Each song resonates with our individual aspirations, which makes playing them very refreshing and challenging."

Stripped to their core, these compositions on their debut EP are defined by the gentle interplay of acoustic guitars and harmonious vocals. Only subtle percussion and the occasional cello add subtle layers to the sonic tapestry. The two recorded the six songs on their debut EP by themselves in the intimate atmosphere of Sam's home studio, opting for a DIY and back-to-basics approach. Their primary focus was on capturing spontaneity and the essence of live performance. Musical sparring partner PJ Decraene added the final touches and mixed the EP.

It has become clear that Matthew Shipp is the most interesting and important jazz pianist of his generation, the most continually evolving and pushing forward. (We could also say “best,” even have been known to declare that, but it’s such a loaded term.) Now that he’s in his sixties and something of an elder statesman of the art form, he’s overdue for a retrospective look at his catalog, and to help make that happen, ESP-Disk’ will be reissuing some of his great early work that’s gone out of print:
• The 1990 trio recording Circular Temple (originally self-released on Quinton, then reissued in 1994 by Henry Rollins on his Infinite Zero label) will come out this September;
• His 1994 duo album with William Parker, Zo (originally on Rise, reissued in '97 on Rollins’s 2.13.61 label), will reappear in Spring 2024.

These will both be reissued not only on CD, the format on which they first appeared, but on vinyl as well, since many jazz fans prefer that medium. Additionally, his solo piano album Zero, released by ESP-Disk’ in 2018, will be put out on vinyl for the first time, also in 2024.

Circular Temple has marked many firsts for Matthew Shipp: his first CD release, first piano trio album, first of many times on record with Parker and Dickey, first album to be reissued, and on ESP-Disk’s reissue of it, first CD-only album to finally appear on vinyl and first album to be released by three different labels. And, more trivially, the first Shipp album that current ESP head/reissue producer Steve Holtje acquired, back when the only choices were that and a 1988 LP-only duo by Shipp and saxophonist Rob Brown on the Cadence label.

Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists - the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon_but a dream came true when he was offered a permanent job in Duke Ellington's orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960's, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note_and countless others. On the album we are proudly presenting you today (Wayfaring Stranger recorded in 1970 by the NPS Radio network in The Netherlands) you will find mind-blowing high-quality Dutch sessions that were left dormant on a shelf and weren't commercially released for over 30 years! On 'Wayfaring Stranger' the listener is treated to no less than nine sublime tracks that document Webster's trademark relaxed-swinging but imaginative playing style that never gets boring. The album features an all-star line-up from the likes of Rob Langereis (Toots Thielemans), John Engels (Chet Baker, Dizzy Gillespie) and Cees Slinger (Dexter Gordon, Slide Hampton). Expect a 61-year-old Ben Webster in excellent form giving a warm, dusky, gritty yet funky performance where he delivers everything from up-tempo material, 12-bar blues jams to soulful expressive ballads. Webster's quartet is in constant musical dialog with each other, creating a unique back and forth between musicians at the top of their game. Tidal Waves Music now proudly presents the FIRST EVER vinyl release of this fantastic album (originally released as a limited Compact Disc edition back in 2000). This unique record comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies) with obi strip.

Goo Goo Dolls (also known as First Release) is their 1st studio album released in 1987. Before the Power Pop hits...
This is a PURE RAW PUNK album recorded in their hometown of Buffalo, NY. It contains some covers mixed in with
originals. Vinyl has been out of print and unavailable.

Fango’s debut EP for Running Back draws a map of the Italian’s wonderful world of sounds. To help music journalists in their ongoing search for new genres, it’s a planet that consist of techno punk, ebm house and outsider disco.
Fed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this Ep consists of the irresistible uplifting vibe that is Sarcosuco and its sweet and melancholic counterpart Diplodoco, while the slow-motion rave Dimetrodonte and Gastonia mirror Fango’s darker and tool-like character. All in all, it’s like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.