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Serious UKG pressure from the year 2000 on the reissue tip.

S.i.A. gave us 'Little Man' from her debut album 'Healing Is Difficult' on Long Lost Brother records and the mighty Exemen aka Jason Chue aka Wookie gave us these peerless remixes that are now rightfully considered bonafide classics. Easily one of the biggest underground UKG tunes at the turn of the millennium, the Exemen 'works' and instrumental versions were caned by the most discerning DJs and selectors of the time and now, tens of thousands of rewinds later..... plus famously part of DJ EZ's classic Boiler Room... here we go again!

'Little Man' is back on the streets with a fresh, legit and welcome 2021 remaster from Beau Thomas and repressed onto a nice and heavy 12" slab of wax. Bearing all the hallmarks of the classic Exemen / Wookie style, 'Little Man' is complex, soulful and heavyweight, you will want this essential UKG burner in your record bag. A true piece of history brought back courtesy of Long Lost Brother records and Above Board Distribution. Often imitated....

Repress !

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

‘Ruminations feels like a direct line into the spirit of Right Now. Oberst reckons with having the fabric of his life ripped apart by a disease of the flesh he couldn’t control or understand. Perhaps that sounds familiar? He paints a startling picture of how surreal life becomes when backlit by illness… these songs are heartrendingly beautiful, filled with the beauty of day-drunkenness and Proustian flights into memory and waking up in the afternoon and realizing that, however imperfect the day is, it’s a day.’
– GQ (2020)

Conor Oberst’s critically acclaimed 2016 solo album, Ruminations, will be released in a double-LP expanded edition – featuring five bonus tracks, four previously unreleased, as well as an etching on side D – on Record Store Day, June 12; it will be made available widely in all formats on July 23. The five bonus tracks were recorded during the Ruminations sessions; while full band versions of them were released on the 2017 companion album Salutations, these solo acoustic recordings are now included for the first time on Ruminations.

Ruminations was recorded in the winter of 2016, when Oberst found himself hibernating in his hometown of Omaha after living in New York City for more than a decade. He emerged with the unexpectedly raw, unadorned album, which NPR called one of his ‘most personal records… a collection of brave, dark songs… unmistakably moving and contain[ing] some of Oberst's best lyrics and imagery.’ The Sunday Times further said it was his ‘rawest album yet. Political and very, very personal’, calling Oberst ‘one of the best songwriters around’, and including the album in its list of best of the year.

“I wasn't expecting to write a record,” said Oberst in 2016. “I honestly wasn’t expecting to do much of anything. Winter in Omaha can have a paralyzing effect on a person but in this case it worked in my favour. I was just staying up late every night playing piano and watching the snow pile up outside the window. Next thing I knew I had burned through all the firewood in the garage and had more than enough songs for a record. I recorded them quick to get them down but then it just felt right to leave them alone.”

In the Nebraska studio he built with his Bright Eyes bandmate and longtime friend Mike Mogis, Oberst recorded all the songs in the span of forty-eight hours. The results are almost sketch-like in their sparseness, and they ultimately became the songs that comprise Ruminations. These tracks do not have the multi-layered instrumentation of the most recent Bright Eyes and solo albums: This is Oberst alone with his guitar, piano, and harmonica; the songs connect with some of the rough magic and anxious poetry that first brought him to the attention of the world.

Great follow up album! Led by Derya Yıldırım’s hypnotizing bağlama and vocals, the group draw a meaningful continuity from the Turkish folk repertoire to their original songwriting, with a strong sound identity and a dancefloor - friendly energy.

Grup Şimşek is a fresh and modern pop - group which combines Anatolian Folk and contemporary grooves, often contaminated by Psychedelia and progressive rock flavours.
Turkish singer and saz player Derya Yıldırım has been burning the candle for Turkish folk and psychedelia since her infamous performance at the New Hamburg Festival back in 2015. Soon after, Grup Şimşek was born and there started a ri ch journey of musical feast, exploring and rendering new versions of Anatolian classics as well as building a songbook of original compositions, with references to the music of The Doors, west coast US psych, Turkish musical activist and hero Selda Bagçan and many heroes of musical Anatolia.Grup Şimşek are itinerant by nature. They live apart across various European homes and span Turkish, German, French and English heritage with Derya living in Berlin. Despite this spatial incongruence, the group's harmo ny oozes through their music with a rich stew of funk - noir groove, organ energy, hypnotic saz (Turkish stringed instrument) and synths all layered beneath Derya's warm sometimes heartfelt vocal, singing verse and poetry, borrowed, evolved and new.

Emotional Rescue and HMV Record Shop (Japan) end their DISCO REGGAE LOVERS 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label.

His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door.

Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street.

Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald.

With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

The incredible production. opus - complete with a stunning diva lead vocal, incredible scurrying strings,and an irresistibly catchy song that sounded like it was the equivalent of Ashford & Simpson on steroids -became me a massive disco anthem when released on the United Artists label. It was loved so much on both sides of the Atlantic that Ian uses the same backing track some time later to record a male vocalversion for AVI by LJ Johnson. Compared to the all conquering Barbara Pennington gem it went under the radar of everyone except the disco cognoscenti, despite being rather good in its own right.Now after tracking down the original 24 track studio masters, the two versions have been remixed by Paul Mooney to create a unique boy-girl duet.It sounds like it should have been done in the first place, and dare we say even better than the original “solo” versions.

Muse celebrate the twentieth anniversary of ‘Origin Of Symmetry’ by releasing ‘Origin Of Symmetry: XX Anniversary RemiXX’ on Warner Records. The new edition features remixed and remastered audio plus re-imagined artwork and will be released on digital formats on June 18th before two vinyl packages follow on July 9th.



As the album’s anniversary approached, Muse asked the Grammy-winning producer Rich Costey, who has produced or mixed material on almost every subsequent record, to revisit the original recordings. Whereas most remix albums aim to radically rework the material, or to switch to an entirely different genre, the band and Costey wanted to provide a renewed clarity with a more open, dynamic and less crushed sound. This highlights parts and ideas previously buried or muted on the original mixes, like a harpsichord on ‘Micro Cuts’ and Abbey Road recorded strings on ‘Citizen Erased’, ‘Megalomania’ and ’Space Dementia’.



And that’s precisely what has been achieved. From the visceral opening riff of ‘New Born’ to the cinematic melancholy of the closing ‘Megalomania’ via the staggering scope of fan favourite ‘Citizen Erased’, the remix unveils every facet of the album’s intricate production alongside a new-found warmth. It further benefits from mastering courtesy of Alex Wharton at Abbey Road Studios.



Matt Bellamy said:



"In revisiting the album what we found was the original mixes on the singles, like ‘Plug In Baby’ and ‘Bliss’, were pretty good so they were the hardest ones to improve. It was the deeper album tracks like ‘Micro Cuts’ where we were able to make massive breakthroughs."



The ‘XX Anniversary RemiXX’ also adds ‘Futurism’ to the tracklist. Originally a bonus track on the album’s Japanese edition and subsequently tagged to the end of the album on streaming services, ‘Futurism’ now adds a burst of energy to bridge the gap between ‘Feeling Good’ and ‘Megalomania’. This reflects its placing on the 2019 box set ‘Origin of Muse’.



‘Origin of Symmetry: XX Anniversary RemiXX’ is completed with a modernised reimagination of the album’s cover art courtesy of Sujin Kim. The visual artist has created a hyper-realistic 3D rendering of William Eager’s original cover image.



‘Origin of Symmetry: XX Anniversary RemiXX’ is now available to pre-order, with ‘Citizen Erased’ provided as an instant download. A limited edition exclusive 140 gram coloured double-vinyl set is available from the band’s official store. A striking package and a must-have item for collectors, it features LP1 on translucent sun yellow vinyl and LP2 on translucent orange vinyl. It will also be released on double black vinyl and digital formats. Both versions of the vinyl feature an unorthodox detail: the sides are marked M, U, S and E rather than the standard format

Kuniyuki´s "Earth Beats" from 2012 (MM 151) is available again!
This Track Is Still One Of Our Favorite Releases And Maybe The Best Work Of Kuniyuki.
Great DJ Support by Kevorkian, Laurent Garnier, Luciano And More.
This More Dance Floor Oriented Live Version Is Recorded For His European Tour In 2011.
We Added Legendary Larry Heard Remixes To The Package. All Versions Are Excellent.

Tonnon produced the album with longtime collaborator, and The Beths’ guitarist and producer, Jonathan Pearce. Tonnon wrote the bulk of the songs during an extensive period of touring after the release of Successor - a period where Tonnon performed with Nadia Reid in Europe, The Veils in the USA, and The Chills, The Phoenix Foundation and Don McGlashan in New Zealand. The pair workshopped songs between tours, often recording new parts as the live versions developed.

Tonnon and Pearce recorded between 2017 and 2020, and in that time, Tonnon’s practise evolved heavily. He incorporated new technology into his set, including the Wellington-designed Synthstrom Deluge, which allowed him to adapt his set for new performance environments;Art Galleries, Museums, even New Zealand Fashion Week. He took that technology further when he collaborated with the Otago Museum on the immersive show for Planetariums, A Synthesized Universe, which travelled to Arts Festivals around New Zealand in 2019.

Creating a music video for ‘Old Images,’ which explored a lost passenger train network, Tonnon came to the idea for a new experience-based show called Rail Land. It took audiences on railways to reach distant community halls around Aotearoa. The show saw Tonnon combine historical research and spoken word narrative, with the immersive lighting and musical technology he developed for A Synthesized Universe. In March, Rail Land finished a three-night run at Auckland Arts Festival, cementing Tonnon’s move to the concept show.

Over time, Tonnon and Pearce’s production moved further from the traditional rhythm sections that powered songs like Successor’s ‘Water Underground.’ In their place came off kilter electronic rhythms, like the beat in ‘Two Free Hands,’ and textures that blur lines between organic and synthesized sound. Guitars are set against synthesizers, and drums against drum machines in ‘Entertainment’ and ‘Peacetime Orders,’ which Tonnon also used in his soundtrack for RNZ’s 80s spy-themed podcast The Service. In ‘Leave Love Out Of This,’ a ballad starts with a piano and a string quartet, but ends in a wall of electronic sound.

The constant has been Tonnon’s lyrics. Whether singing about evolution and the future of work in ‘Two Free Hands,’ the television industry in ‘Entertainment,’ or environmental disaster and regulatory failure in ‘Mataura Paper Mill,’ Tonnon has followed a distinct approach to subject matter, description and phrasing that have seen him longlisted for the APRA Silver Scroll three times.

Tonnon’s explorations of local government and civic infrastructure in his work - an unusual preoccupation for a songwriter, have taken new meaning in his adopted home of Whanganui, where last year, he was elected by councillors as Whanganui District Council’s representative for public transport.

After Tonnon moved to Whanganui, and Pearce toured almost constantly after the success of The Beths’ first album, the pair conducted their collaboration over distance, but with key sessions at Pearce’s Karangahape Road studio, including drums and bass with long time band members Stuart Harwood and David Flyger, a string quartet led by Charmian Keay and arranged by Matthew Bodman, and additional drums with The Beths’ Tristan Deck.

As Leave Love Out Of This is released, Tonnon and Pearce find themselves in very different places to where they started, working on Auckland’s Karangahape Road, close to the venues like Wine Cellar and Whammy Bar where they regularly performed. Back in New Zealand since Covid, Pearce has had to adjust to being in one of Aotearoa’s best-known bands, while Tonnon, when not working on conceptual shows, wrestles with how to restore civic infrastructure to a post industrial city in the regions.

Created over a life-altering period of, Leave Love Out Of This is the culmination of years of experimentation and development - with new technology, new sounds, and new ways of creating, and performing music.

Red VINYL

This was Belgium. 1989. First wave EBM duo, but also so much more.

Optimo Music Archiv is a new offshoot label for revisiting music JD Twitch has been a big fan of for a very long time. This first release takes 5 Force Dimension favourites and reconfigures them as an extended EP / mini album.

The songs are untouched but have been remastered for 21st Century ears.

“Tension” comes in two versions, one from each version of their debut album. Oddly they put out an original version (Blue), they decided they didn’t like it and re-recorded it. Both versions of Tension rule.

200 FA is an end of the night anthem. A perfect piece of E Music that crossed over into the early 90s Rave era and still much sough after to this day.

Aqua 2000 and All Systems Out are too Belgian bombs that still slay dancefloors today.

Released in full picture sleeve on marbled vinyl.

FEEL THE TENSION!

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

This is the demo recording sessions from Television in 1974 under Brian Eno's guidance. TheA SIDE demos were recorded at Good Vibrations Studios in NYC with Richard Hell on bass, and produced by Brian Eno and Richard Williams of Island Records.It also includes three live tracks from CBGB's in 1975 including the unreleased (I Look At You And Get A) Double Exposure, the band never recorded in studio. An abrasive 13th Floor Elevators number and the inonic Richard Hell (I Belong To The) Blank Generation It is fascinating listening to the early versions of these songs that eventually appeared on 'Marquee Moon'. Each versions are distinctly different having a 'harder edge' to them and closer to the final released editions. Sound Quality: Very good stereo

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Soul on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off special pressing exclusively for Record Store Day 2021.

Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

Studio One Soul tracks the link between American Funk and Soul and Jamaican Reggae at the legendary Studio One Records.

Curtis Mayfield, Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - all these artists had a huge influence on Jamaican artists and this album contains versions of songs by all of them. Featuring classic and rare Reggae Funk and Soul cuts from the Reggae giants alongside rarer cuts, Studio One Soul spans over 20 years of classic Reggae from the Rocksteady Funk through to the deep Roots music.

Limited coloured marbled vinyl edition of this album
Sam Cooke is considered one of the „fathers“ of soul. Already as a child he performs together with his
siblings. His first successes came with the band The Soul Stirrers. His first hit was as a solo artist with You
Send Me. Cook wrote his own songs and founded his own label, which signed musicians such as Bobby
Womack and Johnnie Taylor. He himself celebrates his greatest successes at RCA with world hits such as
Cupid, Bring It On Home To Me and Wonderful World. The last proves to be an evergreen until today;
whether in the jeans advertising of Levi‘s or through successful cover versions of Herman‘s Hermits, Bryan
Ferry or Otis Redding.
At the age of only 33, Sam Cooke dies. The motel manager Bertha Franklin shoots him in the Hacienda
Motel in Los Angeles and later claims self-defense. The exact circumstances of his death remain unclear
to this day. Posthumously, Sam Cooke receives all the major awards. A small excerpt: He is part of the
Rock and Roll and the Songwriters Hall of Fame, he was also awarded the Grammy Lifetime Achievement
Award. Rolling Stone magazine lists him 16th among the 100 greatest musicians of all time and fourth
among the best singers of all time. What A Wonderful World...

The original versions were released (digital only) some years ago, but stayed under the radar, until some dj's rediscovered it a while ago. It only started living then, and has continuously gained momentum ever since, with streamings now over half a million and counting fast. All involved agreed: it had to be turned into a vinyl release. It's mostly the original of "She Knows" that's been getting all the love, even though the DJ Rocca & Italian Cosmic legend Daniele Baldelli is an equally impressive showstopper in its own right. Throw in a new and exclusive deep (tech)house mix of "The Sound" by Hugo Ballistik, and you've got a release that merits curtsying and hats off. Limited to 400 copies, and remastered for top quality sound.

Stix Records, a sub-label of Favorite Recordings, is back with some heavy dub cuts from label regular Mato with its usual special skills as a tailor of reggae music.

On Side A, Mato focuses on the infamous "Summer Madness", originally composed by Kool & The Gang. Providing a fresh dub rework, the song will make you dream of hot wet summer nights, gently rocked by beautiful guitar melodies and sweet Fender Rhodes chords. Just a perfect match for all forthcoming summers of love!

On Side B, Mato takes care of "Use Me", originally composed by Bill Withers on his Still Bill album. Expect funky and bouncy clavinets and a nice melodica line for this rework of a timeless classic. As Mato once said, "Play it loud and burn a chalice!"

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound ... In the meantime he developed a real trademark, taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions. Besides, since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Limited Edition hand numbered 7” – 1000 Copies: Rare groove legends Timeless Legend are best known for “I Was Born To Love You”, but this disco rarity from 1979 has risen to prominence in recent years and near impossible to find on 7” for less than £200. Respect the Mighty Zaf and the late great Phil Asher for their brilliant 2018 remix on 12”. These original versions a must for 7” collectors and disco fans

In the Forest of the Dreaming Dead” is UNANIMATED’s debut album which was released in 1993 on no Fashion Records. After numerous bootleg versions and countless mistakes in either the tracklisting or the layout, it is the first time that this classic piece of Swedish Black/Death Metal history is available in its full glory, but with a fresh remastering by Patrick Engel (Asphyx, Candlemass, Darkthrone) and extensive liner-notes by Chris Dick (Decibel Magazine, US). The vinyl comes in a Ltd. Triple Gatefold 2LP with an Etching on Side D (Coverartwork of “Fire Storm”) and 4-pages LP-Booklet. This format also includes a cover of the Venom classic “Buried Alive”, which was only available on the original pressing of “In the Forest of the Dreaming Dead” (1993

Exclusive premieres scheduled in Music is My Sanctuary and Les Yeux Orange and heavy dj support including Groove Armada's Tom Findlay, Blessed Madonna, Erol Alkan, Dino Soccio, Tricky Disco, Leo Zero and many more

"In The Dark", is the new release from Casbah 73. A sensual, sinuous disco affair dealing with touch, human contact and yearning. Three different versions, each a completely different dancefloor proposition and ranging from organic and soulful disco, to hands in the air, uplifting funky horns to searing club banger, all crashing pianos, fierce bass, deep Moog and wild, dubby vocals. It is, in a nutshell, what we need now.

Following on from his recent debut release on Defected/Glitterbox Records, Spanish/US DJ and producer Casbah 73 continues from strength to strength with this, his latest offering, out now on his spiritual home Lovemonk Records.

Recorded locally with a group of top flight musicians and featuring a stellar vocal performance from Angela Gooden.

Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now.
Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and
long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is,
anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his
own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of
Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

Known for the soulful jazz-grooves of their self-titled 2020 debut album, Matti Klein’s Soul Trio actually began as an idea rather than a group.
However, in early 2018 three master musicians met in Berlin’s Lovelite Studio with producer/engineer Jochen Str h (Tony Allen, Ebo Taylor, Pat Thomas, Jimi Tenor) and recorded a set of well-planned and even better executed live sessions, each finding their desired space live and direct, locking into the immediacy of the groove. ‘Soul Trio Live On Tape’ contains these very first sessions of the Matti Klein Soul Trio and comprises new arrangements of songs that had primarily been composed for Klein’s band Mo’ Blow; favourites already back then, timeless classics now thanks to these exciting ‘deep-fried contemporary soul jazz’ versions.
Their leader, known for his work as musical director for the Brazilian superstar Ed Motta as well as Mo ‘Blow, can be heard on Wurlitzer and Rhodes Bass; Lars Zander (The Ruffcats, El Cartel, Lucasonic, STEREOFYSH) not only proves he is the most soulful tenor saxophonist in Berlin, but also why he has earned kudos for a bass clarinet sound that is enhanced with analog tape delays, Wah-Wah and Harmonizer-sweetenings; and drummer Andr Seidel also shows his chops, incorporating elements of rock, hip-hop, odd meter fusion and the sound of New Orleans into his own unique groove jazz style.
As for the music, ‘Rocket Swing’ is a tenor sax feature in which a hip-hop vibe meets a jazzy fifth fall, while ‘Ray’ (dedicated to Mr. Charles) is a Meters-inspired shuffle in 7/8 time. ‘No Particular Way’ showcases the funky side of the band, with singer Pat Appleton in top form over a wonderfully creaky Rhodes bass. ‘Sunsqueezed’ is created in a wide compositional arc, evoking a ray of sunshine peeking through the clouds during a long and grey 10-month Berlin winter, giving hope for the next two months.
‘Eleven Feels Like Heaven’ is a joyful, uproarious gospel blues with a brilliant odd meter drum solo. ‘Grandpa’s Fairytale’ is a hitherto unreleased piece that is dedicated to the bandleader’s grandfather, a former school headmaster who loved to read him stories and is a Wurlitzer-warmth meets bass clarinet groove in an atypical dynamic arc. Summarising their efforts, Klein states somewhat cryptically that “the band rolls in a warm, soft couch whenever there is a risk of having to sit between the chairs.”
Initially available as a limited fan item only at live shows, this document is now being released officially with the addition of ‘Grandpa’s Fairytale’. It is a journey through time, absolutely contemporary and yet wonderfully back to the future.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

Global electronic sound specialist - Producer and DJ Oliver Williams aka "The Busy Twist" is at it again. Among his numerous projects as a producer, this double-sider, dancefloor-focused EP is one of his seldom seen, more personal works in the vein of what he does best: an uptempo, bass-heavy madness, influenced by his regular trips to Africa, Latin America and the West-Indies, packed with undeniable British club music culture and production technique. Highly infectious energy, pure sunshine, 100% good vibes. Following up on The Busy Twist previous collaborations with Congolese singer Tres. "Nanko" is another joyful, sun-soaked, highly danceable Electro-Soukous party joint, loaded with captivating guitar grooves and soulful vocals. On the flip, "Rwendo Rweupenyu (The Journey Of Life) Remix" is an outstanding take on Zimbabwean Sungura Music (one of the country's most popular genres), originally performed by street band Daniel & Gonora Sounds, led by singer-guitarist Daniel Gonora and his drummer son Isaac. Respectfully using Daniel's mind bending guitar riffs and highpitched, uplifting vocals, The Busy Twist and his collaborator delivers an inspiring and remarkably effective version of the original song. Vinyl contains exclusive extended and instrumental Dj-friendly versions of both tracks that won't be available for download anywhere.

After a year of sadness comes an album fit to resist it. Detritus, the third solo LP by violinist/composer Sarah Neufeld, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught. Detritus originated with a collaboration: in 2015, Neufeld was invited to appear on stage with the legendary dancer/choreographer Peggy Baker. Baker had prepared a solo piece based on work from Neufeld's second album, The Ridge, to which Neufeld added an original lyrical prelude. The live result was an incendiary duet, almost a sort of face-off, which left each artist unsated. They agreed to reunite for a more extended collaboration - a full-length show with Baker's company, where Neufeld would write to (and perform music alongside) Baker's choreography. It was a fertile partnership, uniting the two women's intense, curious, ferocious sensibilities across an age difference of 29 years. Baker had conceived the show around the title of Neufeld's prelude, "Who We Are In The Dark," exploring themes of loss, betrayal and the emptiness of space; Neufeld was herself in crisis mode, reacting to a specific, earthbound kind of grief (including the end of a relationship). Making work together, they drew on these raw feelings - insistent, urgent darkness but also something that was, for Neufeld at least, much more unexpected: a romantic, tender-hearted love, inspired by the movements of the dancers before her. The work premiered in February 2019. Even before Neufeld and Peggy Baker Dance Projects set off on tour, she had the intuition that this music might take another form: as a distilled set of songs, refined and developed beyond the versions performed on stage. Starting that summer, she began arranging this lush and soloistic material - work that eventually became Detritus - and performed some of these experiments at her own solo gigs. Neufeld worked throughout the process with her Arcade Fire bandmate Jeremy Gara, whose drums, synths and ambient electronics co-anchored the Peggy Baker shows and helped shape the reimagined album versions. She would go on to add foot-pedal bass synth, wordless vocals and swells of French horn courtesy of Bell Orchestre compatriot Pietro, bringing in woodwind wizard Stuart Bogie as a one-man flute ensemble, layering clusters of chords atop Neufeld's luminous compositions.

A reissue of the 2016 demo tape by New Orleans band
Special Interest, who combine elements of no wave,
glam and industrial music. First time vinyl pressing with
bonus track, new sleeve designed by Studio Tape Echo
and 8 page risographed zine insert.
Four of the tracks here are raw early versions of songs
that would appear in slightly more refined form on their
debut album, 2018’s ‘Spiralling’. The other four pieces
are unique to this release, including a cover version of
Italian new wave band Chrisma, raging opener
‘Disease’, the over-saturated shoegaze-punk of ‘ATC’
and comedown lament ‘I’ll Never Do Ketamine Again’.
The band’s second album ‘The Passion Of’ (2020) was
widely acclaimed and appeared in many album of the
year lists. It was recently followed by a companion
album of remixes on Boy Harsher’s Nude Club label,
with all profits going to NOLA charity House Of Tulip.
“A blistering vision of punk as possibility.” - Pitchfork
“Members Alli Logout (vocals), Ruth Mascelli (synth and
drum machine), Maria Elena (guitar), and Nathan
Cassiani (bass), together manage to make their
instruments and vocals sound like a fight for our
existence.” - The Quietus
Recorded and mastered by Jasper Denhartigh at Bird
Island Recording March-May 2016. Originally selfreleased on cassette in 2016. Cut by Beau Thomas at
Ten Eight Seven. All songs by Special Interest except
‘Black Silk Stalking’ written by Chrisma.
Black vinyl in 3mm spine reverse board sleeve with 8-
page risographed zine, digital download card and
sticker.

‘Copycat Killer’ is a 12” featuring four exclusive
new versions of songs from Phoebe Bridgers’
wildly acclaimed ‘Punisher’ album.
Collaborating with arranger Rob Moose (Sufjan
Stevens, The National, Bon Iver, Vampire
Weekend, Jay-Z), these are brand new orchestral
arrangements of the songs ‘Kyoto’, ‘Savior
Complex’, ‘Chinese Satellite’ and ‘Punisher’, all
given a luscious revamp that is sure to delight any
fans of Phoebe’s album and serve as perfect
gateway for new listeners into what makes her one
of the most special artists of 2020 and beyond.

Strut present the definitive edition of a 1977 classic, Plunky & Oneness OfJuju's 'Make A Change' album featuring the international hit 'Every WayBut Loose' and five previously unheard studio takes. Recorded at Omega studios in Maryland, the album marked a transition forthe band with lead vocalist Jackie Eka-Ete recording her last sessions withPlunky and Virtania Tillery taking over lead vocal duties. "'Make A Change'was always designed as a slightly more commercial entry in our discography," says Plunky. "We approached the sessions in the same way that we had approached all of our music since the early '70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk." After catching fire in Washington DC clubs through local record pools, the dancefloor favourite 'Every Way But Loose' famously became an anthem for Larry Levan at New York's Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout 'Higher' and the wistful stepper 'Always Have To Say Goodbye' have remained staples among soulful DJs worldwide. "The songs and lyrics on this album have come back around full circle," continues Plunky. "With songs like '(Family Tree) Make A Change' and 'Every Way But Loose', we don't have tochange one word for them to be relevant all these years later. The positive messages are universal and timeless." This definitive edition of 'Make A Change' features the full original album alongside five previously unheard studio takes, all remastered by TheCarvery from the original tapes. Bonus tracks include extended studio versions of 'Every Way But Loose' and 'Always Have To Say Goodbye'and a previously unheard version of 'Time'. Package features brand newliner notes by bandleader Plunky Branch.

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

"Matasuna" brings together two important pioneers of funk on its latest release: "The Meters" from "New Orleans"and "The Watts 103rd Street Rhythm Band" from "Los Angeles". The song "Giggin' Down 103rd" by "The Watts 103rd Street Rhythm Band" was first released as a single in 1968 (as Misspress) and is now available again for the first time. The song "Sing A Simple Song" by "The Meters" even premieres as a 45! Both tracks have been remastered to offer the best possible sound.

The A-side opens with "Sing A Simple Song" by "The Meters", a cover version of a song by "Sly & Family Stone" written by "Sly Stone". In direct comparison, "The Meters" cover sounds much more energetic and powerful. The ingredients are simple but effective: heavy drum breaks, funky guitar riffs, deepe bassline and a lively organ. A killer instrumental joint that exudes roughness & funkyness from the first second to the last!

On the flipside "The Watts 103rd Street Rhythm Band" follows up in similar fashion with the song "Giggin' Down 103rd". Instead of an organ like "The Meters", the band offers a super thight horn section backed by killer drums, guitars & bass. A special spicy recipe that thematically fits perfectly for this Funk45!

"The Watts 103rd Street Rhythm Band" was formed by "Charles Wright". Charles, a musician & composer born in 1940 in "Clarksdale, Mississippi", moved to "Los Angeles" in the 1950s. There he played as a singer & guitarist in various doo-wop groups. Beginning in 1962, he formed his own band, "Charles Wright & The Wright Sounds", which was joined in the following years by other musicians who would become known in the future band. The name "The Watts 103rd Street Band" was established in 1967. That same year they signed a record deal with "Warner Bros. Records" and released their first album. More LPs were released in the following years.

The band played mainly cover versions of popular R&B hits in the early years, but began to create their own songs and form their own sound in the late 1960s, which would have a strong influence on other musicians at the time.

Starting in 1969, the first members left the band to work on other projects. Charles also left the band in 1972 to further his solo career and release various albums.

In 1965, the group "The Meters"was founded by "Art Neville"with three other musicians in the musical epicenter of "New Orleans". They quickly made a name for themselves in the local scene. The musician "Allen Toussaint", who was to become one of the most influential record producers of the 1960s, discovered the band and signed them to his label "Sansu Enterprises". They first played as a backing band at live and studio performances of artists of the New Orleans scene, before getting their own record deal with "Josie Records". On this label they released three albums, before releasing more in the following years on "Reprise Records" and "Warner Bros. Records". The band officially disbanded in 1977 and reunited a few years later in 1989.

Since then they have been on stage in different formations as "The Meters", "The Funky Meters" or "The Meter Man".

Their innovative musical style, which was influenced by traditional New Orleans second line music, West African rhythms, Soul and rReggae, set a standard that would influence many musicians. Also, their music had a significant impact on the Hip Hop community, which sampled their songs hundreds of times.

On April 30, Mascot Label Group/Provogue will release "How Blue Can You Get", a collection of previously unreleased songs from Gary's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King.
Venturing deep into the Moore family archives, some previously unheard and unreleased deep cuts and alternative versions surfaced to accentuate the beguiling mastery of one of blues' finest modern exponents. Amongst the songs are unheard and unreleased Moore originals - "In My Dreams," a lusciously glorious slow-moving ballad with every note and bend weeping as Moore pours out his heart along with the stunningly melancholic "Looking At Your Picture".

The album kicks off a rip-roaring take on Freddie King's "I'm Tore Down," a Moore live favourite before he slips into a previously unreleased virtuosic version on Memphis Slim's "Steppin' Out." Elmore James' "Done Somebody Wrong," is another that showcases his blues chops, as does the enormous 7-minute never been released before scorching take on BB King's 1964 hit "How Blue Can You Get." An alternative version of "Love Can Make A Fool Of You," makes itself at home deep into the blues-rock heart of Moore, in a way that his most loved songs do, whilst the finale soars into the stratosphere with the beautifully aching "Living With The Blues."

It's our hope that current and future generations of music fans discover and re-discover Gary Moore, revelling in the artistry of not just a great guitarist, but a supremely talented musician. Back to the future with Gary Moore.

Still just shy of legal US drinking age, GRAMMY®-winning Atlanta hard rock juggernaut Mastodon turns 20 this year! Celebrating two decades together, the group will unleash a rarities collection, Medium Rarities, which includes among the many rare highlights an unreleased track “Fallen Torches,” recorded in 2019.

The band explains, “‘Fallen Torches’ is an unreleased track from Mastodon that will appear for the first time on Medium Rarities. This classic Mastodon track was recorded in Atlanta in 2019, originally planned to be released in support of a European tour, the track was delayed so the band could focus on the release of Stairway to Nick John, a tribute to their late, long time manager Nick John, with proceeds going to the Hirshberg Foundation for Pancreatic Cancer Research in his honour. ‘Fallen Torches’ is written by Mastodon and features guest vocals by longtime friend and collaborator Scott Kelly from the band Neurosis.”

Medium Rarities presents a bevy of classic covers, soundtrack contributions, instrumentals, B-sides, and live recordings on one complete package for the very first time. Among an eclectic array of covers, the musicians tackle “A Commotion” by Feist, “A Spoonful Weighs A Ton” by The Flaming Lips, and “Orion” by Metallica. It also features soundtrack cuts such as “White Walker” Game of Thrones and “Cut You Up With A Linoleum Knife” [Aqua Teen Hunger Force]. Meanwhile, they get under the hood with instrumental versions of “Asleep in the Deep,” “Toe To Toes,” “Jaguar God,” and “Halloween.”

Another new Mastodon track “Rufus Lives” will be included in the forthcoming Orion Pictures film Bill & Ted Face The Music, expected to be released in September 2020. Written, performed and produced by the band and recorded in their hometown of Atlanta, the track will also appear exclusively on the film’s official soundtrack album. Further details to be revealed shortly.

The anniversary celebration only continues. At the moment, Mastodon are hard at work on their anxiously awaited ninth full-length and first record since the GRAMMY® Award-winning Emperor of Sand in 2017.

With their 25th anniversary celebrations well underway, Hospital Records are bringing their esteemed ‘Classic Symptoms’ series into 2021 with four stellar selections.
The fifteenth edition will be the first to celebrate the label’s milestone achievement by shining the spotlight on some of the original versions of tracks from the highly anticipated ‘H25PITAL’ compilation set to be released on 26th March 2021. Expect an eclectic mix of sound supplied by Netsky, SKC & Bratwa, Hugh Hardie and Q-Project pressed to an extremely exclusive vinyl run.
An undeniable anthem which has cemented itself in the hearts of countless drum & bass lovers, Netsky’s ‘Memory Lane’ marked his first release on Hospital Records and is the perfect starter for ‘Classic Symptoms 15’. Opening the ‘Sick Music 2’ compilation which originally came out in 2010, ‘Memory Lane’ is now approaching its 11th year in circulation.
“It was an exciting time, I had been sending demos through AIM to Hospital for some time, hoping something would get picked up.” - Netsky
Hailing from Hungary, SKC & Bratwa’s nostalgic ‘Heart Of Love’ follows. First seeing the light of day as part of the ‘Weapons Of Mass Creation’ compilation in 2004, this one will take you on a funk-infused liquid trip back to the days of the original Hospital loungecore sound.
Bringing things back to the future, Hugh Hardie’s soulful slammer ‘Tearing Me Apart (feat. Kyan)’ provides ‘Classic Symptoms 15’ with alluring groove and, of course, that infamous double bass melody. Initially released on the ‘Hospital: We Are 18’ compilation back in 2013, it’s safe to say this one is timeless.
Sending it way back to 2006, Q-Project steps up with the title track of his 2006 ‘Computer Love’ electro-infused smasher. Rugged breaks and future-retro synthesis, this one sounds just as good now as it did back then.
Don’t sleep on securing your extremely limited press of four Hospital classics.
This one is for the serious collectors - once they’re gone, they’re gone.

*repress*

Phonica Records welcomes Spanish producer extraordinaire Pional to it's main label with the 'XME / One Night Stand' 12'.
Pional is Miguel Barros and the Madrid based musician has been producing for over a decade. With a string of well received solo releases on Hivern Discs, Permanent Vacation, Young Turks and Counter, remixing the likes of The xx, Chairlift, The Rapture, Prins Thomas and John Talabot (who he also co-wrote the incredible 'Fin' album ender 'So Will Be Now...' with) as well as DJing around the world, Pional has been keeping very busy indeed.
For his Phonica release he has produced two versions of two very special tracks. On the A-side, 'XME' is a melancholic and uplifting electronic excursion with delicate flourishes of it's synthesised melody becoming a real ear-worm throughout its six and a half minutes. The slower and more foreboding 'Quiet Ceremony' reinterpretation takes the same melody in a darker direction.On the other side, 'One Night Stand' is a bumping, stripped back and moody club track with ghostly vocals floating above metallic pads rising to a release of energy and emotion. The 'Slow Drumapella' lowers the tempo and alters the feel of the track, reducing its elements to a bare-bones drum track with the vocal, fx and pads eventually coming to the fore.

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)” coupled for the first time ever on vinyl. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.
This first pressing also comes with an exclusive photograph of Ultramagnetic Mc’s on thick cardboard. The timeless classic Critical Beatdown is available as a limited edition of 2000 individually numbered copies on yellow vinyl.

Overview: Ultravox’s ‘Vienna’ album was originally released in July 1980, their first with Midge Ure on vocals/guitar. Produced by legendary German producer Conny Plank (Neu!, Kraftwerk), it reached number 3 in the UK album chart and top ten in Australia, New Zealand and several European countries.

The album contains 4 UK Top 40 singles; All Stood Still, Passing Strangers and Sleepwalk (which was recently reissued as part of Record Store Day 2020) and the title track ‘Vienna’ which reached No.2 in the UK and Top 10 in seven countries around the world. The single went on to sell over half a million copies in the UK. This new vinyl edition has been mastered and cut at half-speed by Alchemy Mastering using the original 1980 production tapes. The second bonus vinyl includes single versions and b-sides from the 4 singles released from the album, including a previously commercially unreleased US Promo Edit of Vienna, which is exclusive to this edition.