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Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

On October 15th & 16th 2020, drummed Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they"d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from the sessions made it onto Villarreal"s critically-acclaimed 2022 album Panamá 77, bust most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation - flow as informed by the Latin soul of Fania Records as it is by the otherworldly trance of Brain Records - while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker"s recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven"s 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

A selection from the Jamaican singer's large catalog, recorded at Channel One Studio with the likes of Sly & Robbie, The Tamlins, Don Drummond Jr., Dean Fraser, Ansel Collins, Winston Wright. The songs have been engineered by Soldjie, Barnabas and Scientist! A legendary cast for a series of unbelievable numbers. Roland was born in Pennants, Clarendon in Jamaica and was destined to become a star from his early days at John Austin School which set the stage for a career in the music field. Growing up in Trench Town, he met Bob Marley and Toots Hibbert who gave him inspiration and counseling as he would often ‘jam’ with them. During his growing artistic years, he sang with a group called The Shades, where he encountered Lee ‘Scratch’ Perr. Along with Conrad Brown, they produced “Lonely Man.” Thereafter, Roland quickly rose to popular fame when he recorded the chartbuster “Johnny Dollar,” a song that topped the Jamaican charts in Europe, USA and Japan. He recorded his first album, “Johnny Dollar” for Tanka Records which included the hit songs “Hey Mama” and “Stormy Night.”

Taken from 'Escandalo' by Perez Prado & Don Alfio,'Circle' was written by Mario Rusca and performed by
some amazing musicians such as Tullio De Piscopo, Hugo
Heredia and Pino Presti.
Perez Prado is Pantaleon Perez Prado, the younger
brother of the 'King of Mambo' who came to Europe in the
50s and recorded several albums with Unifunk.
'Circle' is a strong track with a killer groove and it's not
hard to imagine it as the perfect score for a car chase.

Superstar Joe Bonamassa Returns To His Roots With New Studio Album Blues Deluxe, Vol. 2, Celebrating The 20th Anniversary of His Best-Selling Independent Release

In Addition, Joe Will Release A Remastered Version Of Blues Deluxe Which Will Drop With Its Predecessor On October 6th via J&R Adventures/Provogue Records

Blues Deluxe is the third studio album by Joe Bonamassa and originally released on August 26, 2003. Recorded at Unique Recording Studios in New York City, it was produced by Bob Held and features nine cover versions of songs by classic blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson, Elmore James and more. The album is completed with three original tracks, including the fan favorite Woke Up Dreaming.

With 26 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

PRESSED ON ORANGE COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 1000 COPIES

2023 is the year of Too $hort at Get On Down with our 4th reissue and album number 7 in the catalog of the Bay Area legend. Shorty The Pimp was released 31 years ago on July, 14, 1992 and has not been in print since we originally reissued it on wax in 2018. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. Shorty The Pimp is also a stand out project for producer Ant Banks who did many of the beats for the project, his first working with Too $hort with many more to follow over the next decade.

This record captures the amazing live energy of Santrofi, a young 7 piece from Ghana with a mission to bring Highlife back. For this record they are backed by Berlins finest 14 piece brass band: the Omniversal Earkestra. Over 25 great musicians on stage all playing their hearts out, all captured on this live LP.

The album documents the grande finale of the ‚Deep into Highlife‘ project taking place 2021/22 in Ghana and Germany. The project started off in Accra with Highlife shooting stars Santrofi inviting numerous artists on stage for a series of concerts and jamsessions. The guests included Highlife legends A.B. Crentsil (RIP) and A.K. Yeboah, but also newcomers like Camidoh, Black Sherif or drill rapper Yaw Tog from Kumasi.

In May/June 2022 Santrofi brought the ‚Deep into Highlife‘ experience to Germany. The lineup featured two special guests: The guitar band legend A.K. Yeboah, a pioneer of Ghanas Highlifescene and father of famous guitar ace Kwame Yeboah. And Ghana drill pioneer Yaw Tog from Kumasi known as ‚young bull‘ by his fans back home.

The final concert of the tour took place at Kulturbrauerei in Berlin on June 2nd 2022. For this very special event Santrofi was backed by Berlin’s finest brass unit the Omniversal Earkestra. The band is a 14 piece brass collective making waves recently with their ‚Le Mali 70‘ album which took them on a recording trip to Mali.

The album features live versions of some of Santrofis most popular songs backed by the Omniversal Earkestra who wrote horn arrangements for this special session. It also features ‚Suru nipa‘ an original composition by A.K. Yeboah in which the singer gives invaluable advice to his audience: „Don’t be afraid of ghosts, be afraid of humans“. And a version of Yaw Tog’s single ‚Sei mu‘.

We invite you to witness the incredible live energy of Santrofi and their lovely collaborators: Let us share this beautiful night with you.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

A multi genre-busting release that has transcended most dance scenes from Modern Soul, Rare Groove, Crossover and Boogie to become perhaps the most in-demand '80s record on the current collectors scene.

The popularity of "Don't Send Me Away" was recently confirmed when a YouTube clip of Garfield himself, performing "Don't Send Me Away" at a Paris record stall in late 2018, went viral with over 2,000,000
views to date.

"Every Mile" was recorded during a particularly tumultuous time in the life of the band, and of the band members - There were record deals won and lost, tours that were equal parts triumph and tragedy, and relationships that bit the dust
And, yet, we remained hopeful, we remained friends, and we remained committed to the songs you find here. Jon Nolan once called this record "pain with a hope chaser," which about sums it up. In a quintessential Say ZuZu moment, we recorded "Every Mile" in Memphis because we broke down there mid- tour and
tried to make the best of it. We had more songs than would fit on this record, so we curated 12 songs that belonged together, and we intended to record the others on a follow- up record that never happened. Some of those tracks found their way onto Jon and Cliff's solo records, and some have yet to see the light of
day. Either way, "Every Mile" emerged from a remarkably fruitful chapter in the band's songwriting history, and their treatment here is seasoned with the grit of
our lives at that time.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

180gr./6p Booklet/500 Copies Moss Green Coloured Vinyl

Urban Solitude is an album by Anouk, released in 2023. Urban Solitude includes a.o. the following tracks: “In The Sand”, “R U Kiddin' Me”, “My Best Wasn't Good Enough”, “It Wasn't Me” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

Die..//180gr/Printed Innersleeve/1000 Cps On Pink Vinyl
1-LP Holland


Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

180gr/Printed Innersleeve/500 Cps White Vinyl

In 2013, Anouk represented the Netherlands in the Eurovision Song Contest. Just before the competition, she released her eighth album, Sad Singalong Songs. The album showcased a new sound for Anouk, featuring introspective, symphonic rock ballads. The lead single, "Birds," was performed at Eurovision, and the album reached number 1 on the Dutch charts, achieving Platinum status on its release day. It also charted in Belgium and Germany, highlighting Anouk's versatility as an artist

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The touring and promotion for The House Of Love took its toll on the group with
lead guitarist Terry Bickers leaving the group to be replaced with Simon Walker.
Taking its name from a Peter Blake painting, Babe Rainbow was released in July
1992. Overseen by The The and Julian Cope producer Warne Livesey, it has a
tremendous urgency and greater unity than their previous album. Trailed by the
single The Girl With The Loneliest Eyes, Babe Rainbow also contains live favourite
Crush Me, the brooding High In Your Face and Top 50 hits Feel and You Don't
Understand. Simon Walker left the group and was replaced with Simon Mawby,
who himself was to depart by the end of 1992.
This re-issue replicates the original 1992 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.

It only took fifteen minutes for Bob Gaudio to pen the lyrics to Sherry,
which was originally named Jackie Baby as a tribute to First Lady
Jacqueline Kennedy. Producer Bob Crewe had suggested to Gaudio that he should write a song which exploited Valli's remarkable vocal range.

It reached Number 1 in America and stayed there for five weeks along with top-ten success in the British charts. Under his guidance, the group followed up with Big Girls Don't Cry and another Number 1 in the American charts ensued.

The Four Seasons were one of the few American acts to survive the British invasion of 1964. Indeed, they are the only act to have a US Number 1 hit before, during and after the Beatles successfully invaded the USA.

So begins the legendary Don Letts' liner notes for this young band's new album,
'Ladders', their first on Easy Star Records. The band hails from Washington, DC,
and features lead singer Kelly Di Filippo, who has been heard on tracks by Jon
Quan and others. Letts continues: "I don't know how this Washington, DC-based
dub reggae outfit was brought up, but for the most part, like me, they seem to
have been raised with sixties pop hitting them in one ear and seventies reggae
hitting them in the other." That just about nails it for this unique act that sounds
pretty unlike any of their contemporaries in the US and world reggae scene.

With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Es ist vier Jahre her, dass Cherry Glazerr ihr glänzendes drittes Album "Stuffed and Ready" veröffentlicht haben, aber Clementine Creevy hatte es nicht eilig. "Ich habe diese Jahre damit verbracht, mich selbst und meine Beziehungen unter die Lupe zu nehmen und darüber zu schreiben", sagt sie. "Ich schätze, ich komme mit einer Menge Mist klar." Cherry Glazerr ist seit Creevys Highschoolzeit viel unterwegs, und als die Pandemie ausbrach, tauchte sie in eine statische Existenz ein. Creevy beschreibt Cherry Glazerrs ehrgeiziges neues Album "I Don't Want You Anymore" als ihre bisher persönlichste und roheste Musik, eine Sammlung von Songs, die diese Zeit der Selbstaufgabe verarbeiten. Es ist das erste Album, das sie seit Cherry Glazerrs Garage-Rock-Debüt "Haxel Princess" selbst produziert hat, das vor fast einem Jahrzehnt erschien, als Creevy noch ein Teenager war. Creevy beschreibt "I Don't Want You Anymore" als ein "reifes" Album, was mehr mit ihrer persönlichen Entwicklung zu tun hat, als mit dem Album selbst, das in wahrer Cherry Glazerr-Manier am besten als Extremely Fun beschrieben werden kann. Für die Produktion des Albums hat sich Creevy mit dem Produzenten Yves Rothman zusammengetan, der vor allem für seine Arbeit mit Yves Tumor bekannt ist. Die Leadsingle "Soft Like a Flower" ist ein Beispiel für diese Entwicklung. Ein düsteres Gitarrenriff leitet den Track ein, bevor Creevys unverhüllter Gesang einsetzt. Sie singt von einer verzehrenden Besessenheit und wird im Refrain von ihrer langjährigen Bandkollegin Sami Perez unterstützt. Es ist ein stolzes, gefühlvolles Stück, das Creevy einen "Evanescence-Moment" nennt. "Es ist ein echter `losing your fucking shit'-Style", sagt sie. "Ich wollte, dass dieses Album nur aus Herz und Seele besteht. Völlig offen." "I Don't Want You Anymore" nutzt das Element der Überraschung zu seinem Vorteil; jeder Track ist eine radikale Neuinterpretation dessen, was Cherry Glazerr ist und sein kann. "Bad Habit" beginnt mit einer spiralförmigen Gesangsschleife, die Creevy zu Hause aufgenommen hat, und entwickelt sich zu einem delirierenden Downtempo-Dance-Track, ohne dass jemals eine Gitarre zum Einsatz kommt. Der darauf folgende Track "Ready for You" wird im funkigen Stakkato gesungen, und die anfänglich sparsame Bassline in der ersten Strophe wird schließlich von einem massiven, statischen Gitarrenriff überholt, das einen daran erinnert, dass es sich hier im Kern um ein Rockalbum handelt. Dies sind Songs, die das Leben des Hörers untermalen, eine Partitur, die zu jeder Gelegenheit passt. Das titelgebende Stück ist ein Versprechen an eine namenlose Person, aber der sich wiederholende Text in der Bridge könnte genauso gut als Liebesbrief an den Hörer dienen: "In the end, you're always holding me."

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

Das ist Killer-Crossover-Thrash-Metal, der mit großartiger Energie und Aggression dargeboten wird.

Die Platte beginnt mit einem einigermaßen perfekten Intro für diese Art von Album in Form von „The Executioner“, das heftig anfängt, dann an Geschwindigkeit zunimmt und von da an bis zum Ende von „The Mountain Wizard“ nie wirklich langsamer zu werden scheint.
„Waste 'em All“ ist das Debüt-Studioalbum der US-amerikanischen Crossover-Thrash-Metal-Band Municipal Waste. Municipal Waste wurden 2001 in Richmond, Virginia, gegründet die musikalisch in den 80ern beheimatet sind und zu den verrücktesten Bands zählten wie D.R.I., Nuclear Assault, Anthrax uva.

„Waste 'em All“ brachte sie auf die Landkarte, aber erst als sie ihr zweites Studioalbum „Hazardous Mutation (2005)“ über Earache Records veröffentlichten, kam die Sache wirklich ins Rollen.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

Repress!

1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO INCLUDING ITS STUNNING FULLY ILLUSTRATED
8-PAGE BOOKLET

His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording "Venus" that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Fusion Jazz predating Vaporwave by a mere 30 years. Wewantsounds is delighted to reissue this visionary album, which
comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.
The early 80s were prolific for Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked on Akiko Yano's "Gohan Ga Dekitayo", YMO's "BGM", Ryuichi Sakamoto's "B-2 Unit", Mkwaju Ensemble's "Mkwaju" and found time to record two Logic System albums in 1981. While the first album, "Logic" had a harder techno feel, the second one "Venus" was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album.

The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7.

The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

The other key elements of Venus is the artwork designed by Japanese legendary illustrator Pater Sato. Sato had started in Japan in the early 70s doing many album covers for Japanese artists including Tatsuro Yamashita's cult Spacy LP before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years and in 2018, Stella McCartney dedicated a whole Men’s collection based on his Venus. Star make up artist Pat McGrath also regularly posts his artwork to her 3 million fans on her instagram.

The original album came with a beautiful 8-panel insert illustrated by Sato which Wewantsounds has reproduced on this deluxe reissue also featuring remastered sound, OBI strip and a second insert featuring credits and line up plus liner notes by Hashim Bharoocha. The notes will feature an exclusive interview with Hideki Matsutake reminiscing about the making of this visionary album which Wewantsounds is delighted to reissue.

JJ McCann Transmission - aka James McCann - has a long history in Australian rock circles (in Perth, Sydney and Melbourne) and has had a bunch of releases out in France and Spain. James' new album - his first under the new JJ McCann Transmission moniker - is called Hit With Love and it was produced by Rob Younger of Radio Birdman and the New Christs who produced every second great Australian rock record in the 80s and 90s (Died Pretty, Hard-Ons, Lime Spiders, Celibate Rifles, Hoodoo Gurus etc) and who more recently produced Civic's Taken By Force. It is a scorcher. Songs like "Forces at Work", "Don't Bother Me", "She's Repatriated" and "Blindsided" would be at home in the booze stained venues and shagpile carpet sharehouses of Australian inner-city music scenes of yore. mphibious Skin' and ew Machine' pack an angular post-punk punch, while entimental Crap' takes a booze and blues-stained axe to misconceived nostalgia. This is an album that drips with reverence for the past and bursts with passion for the future of rock'n'roll. Get it now and feel the love.

Brotherhood Of Peace (aka B.O.P.) brought the world some of the best breezy power pop, Southern rock and heavy boogie all packed into one brilliant album in 1976, the fittingly titled Cuttin’ Loose. The album is a free-flowing nine song collection of genre blending would-be hits suited for both ’70s AM gold and FM album rock that never received its proper due, until now. The album flows somewhat similar to the way Big Star combined heavy riffs with airy pop sweetness, but B.O.P. brought more of a blues rock groove to the proceedings, resulting in heavier undercurrents to songs with glowing three-part harmonies and impeccable power trio musicianship. By the mid-’70s, rock ’n’ roll was truly anything goes. Experimentation, excess and inventing new genres was all the rage, and the trio of spritely young men—guitarist / vocalist Dennis Tolbert, bassist / vocalist Mike Arrington and drummer / vocalist Ronnie Smith—gamely tackled whatever sound they pleased. Fortunately, the band captured it all on their lone album, released on the small independent label Avanti Records in March 1976. The Mount Airy, North Carolina trio got its start as teens in 1969 as the backing band to a large 20-50 person traveling church choir called the New Americans. By 1970, the band was ready to move on to performing on their own. First as a sextet, the band soon trimmed down to a three-piece, working the local club circuit like madmen, sometimes playing three shows a day. At the height of their live tightness, B.O.P. recorded the album with local musicians Don Dixon and Robert Kirkland of the band Arrogance who worked at Charlotte recording studio Reflection Sound in October 1975. The band laid out the highlights of their live set in the studio, which ran the range of influences from The Raspberries to Deep Purple, Doobie Brothers to Nazareth, Lynyrd Skynyrd and Grand Funk. The initial pressing of 1000 copies was released in March 1976, but without major label machinery for retail distribution, radio and press, the album never took off. The band mostly sold them at live shows, via consignment at local stores and in limited distribution in the Southeastern region. However, to date, the record still occasionally pops up for sale online worldwide at exorbitant collectors’ prices. Until now, finally getting a proper reissue via Riding Easy Records.

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

Love Makes The World was officially released in 2001 and features a variety of well-known musicians, including Babyface, Steven Tyler, Céline Dion, Wynton Marsalis and k.d. lang. The album was produced by Humberto Gatica (Céline Dion, Michael Jackson, Barbra Streisand), Babyface, and King herself. The tracklisting includes “You Can Do Anything” and “The Reason”.

Love Makes The World is available as a limited edition of 1500 individually numbered copies on translucent pink coloured vinyl and includes a 4-page booklet.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Released in 1998, THE CHRISTMAS ATTIC earned double-platinum certification and continues to captivate audiences with fan favorites like “Music Box Blues,” “Boughs Of Holly,” and “Ghosts Of Christmas Eve.” The album also introduced “Christmas Canon,” which has become one of the band’s most popular songs and a modern holiday classic. THE CHRISTMAS ATTIC tells the heartwarming tale of a little girl’s magical night spent in an attic filled with yuletide memories, accompanied by spellbinding guitar solos and soaring choral vocals set against a rock orchestral backdrop. The record serves as the second installment in TSO’s celebrated Christmas trilogy, which also includes Christmas Eve and Other Stories (1996) and The Lost Christmas Eve (2004).

TSO was conceived by the group’s late founder, composer, and lyricist Paul O’Neill. His ambitious vision was to create a progressive rock band that combined rock opera and classical rock with a dazzling live show that featured lights, lasers, and pyrotechnics. In the 1980s and 1990s, O’Neill produced several albums for the influential heavy metal band Savatage, which is how he connected with longtime collaborators Jon Oliva (vocals), Al Pitrelli (guitar), and Robert Kinkel (keyboards/producer).

With more than 10 million albums sold, TSO has inspired generations of fans to rediscover the multi-dimensional art form of rock opera. Since its touring debut in 1999, the band has emerged as one of the world’s top live acts, performing for over 10 million people across the globe, selling more than $280 million worth of tickets, and donating $11 million to charity.