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Limited coloured marbled vinyl edition of this album Booker T. & the M.G.s formed as the house band for Stax Records and provided playbacks for numerous singers, including Wilson Pickett and Otis Redding. During a - recording break for Billy Lee Riley, 17-yearold keyboardist Booker T. Jones, guitarist Steve Cropper, Lewie Steinberg on bass and Al Jackson Jr. on drums began messing around with a bluesy organ riff. The president of Stax Records, Jim Stewart, was at
the mixing board. He liked what he heard and recorded it. The result: „Green Onions,“ with „Behave Yourself“ as the B-side.
The record became a hit when radio DJ Reuben Washington played it four times in a row, even before the band had a name. The single went to #1 on the US R&B chart, #3 on the pop chart, reached #7 in the UK
and sold over a million copies. The song was listed as one of the 500 greatest songs of all time by Rolling Stone magazine and received a Grammy Hall of Fame Award in 1999. It was followed by the allinstrumental album „Green Onions“, which is now a classic of the era.

The album was included in Robert Dimery‘s 1001 Albums You Must Hear Before You Die. Booker T. & the M.G.s have been called the most influential stylists in modern American music. Until the 2000s, they
played as the house band for countless world stars such as Bob Dylan, Stevie Wonder, Johnny Cash, Eric Clapton, George Harrison, Neil Young and many others.

The Summit of the Gods is a French animated film directed by Patrick Imbert, released in 2021. It is an adaptation of the manga The Summit of the Gods by Jirō Taniguchi, based on the novel by Baku Yumemakura. This journey is set against the backdrop of the fate of a Japanese mountaineer and George Mallory's adventure to the summit of Everest.

International release: November, 30th on Netflix

Festivals:

- Annecy International Animation Film Festival (2020)

- Cannes Film Festival (2021) - Official Selection

- Application for the César and Oscar Awards 2022

Balancing on a double culture that he claims, Amine Bouhafa develops a very personal style by playing with the clichés of orientalism. The quality of his writing and the originality of his style led to his being chosen by the producer Sylvie Pialat and the Mauritanian director Abderrahmane Sissako to compose the music for Timbuktu. The film won seven Césars, including the one for best original music.

More recently, he composed the inspired scores for Tu Mourras À Vingt Ans by Amjad Abu Alala (Golden Lion for the first film - Mostra 2019 / Best Music Award at the Odessa International Film Festival 2020), Un Fils by Mehdi Barsaoui awarded for the best actor (Orizzonti selection - Mostra 2019), Gagarin by Fanny Liatard & Jérémy Trouilh (Official Selection of the Cannes Film Festival 2020 - Best Original Score Award at the Rome Film Festival 2020 and at the Bordeaux International Independent Film Festival (FIFIB), L'Homme Qui Vendu Sa Peau by Kaouther Ben Hania awarded Best Actor (Orizzonti selection - Mostra 2020) and the Star of the Best Arab Film at the El Gouna Festival 2020 and The Summit of the Gods by Patrick Imbert (Official Selection of the Cannes Festival 2021).

Wes Andersons neuester Film ”The French Dispatch” erweckt eine Sammlung von Geschichten aus der
letzten Ausgabe einer amerikanischen Zeitschrift zum Leben, die in einer fiktiven französischen Stadt des
20. Jahrhunderts erschien.
In den Hauptrollen spielen Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray
und Owen Wilson. Der Film feierte im Juli bei den Filmfestspielen von Cannes 2021 in Frankreich Premiere
und wird am 21./22. Oktober weltweit in die Kinos kommen.
Der ”The French Dispatch” OST wird zeitgleich mit dem Kinostart des Films veröffentlicht. Auf dem
eklektischen Soundtrack sind Jarvis Cocker, Grace Jones, Ennio Morricone, Charles Aznavour und viele
andere zu hören.
ab 11.02.2022 auch als 2LP erhältlich

South London genre-blending story tellers Alabama 3 are set to further add to their rich musical heritage with a new single ‘Whacked’, available April 30th via Submarine Cat Records, with an album to follow later inAugust.

‘Whacked’ is the first taste of fresh Alabama 3 material since the tragic passing of their beloved and unconventional frontman and songwriter Jake Black, aka The Very Reverend D. Wayne Love, in May of 2019. Jake had Addison’s disease and passed away several days after falling ill during a show at the HighestPoint Festival in Lancashire at only 59 years old.

Then, with the Covid-19 pandemic and lockdown upon the world, the band got creative and submerged themselves in their music, teaming up with producer Cam Blackwood(George Ezra, Jack Savoretti, Tom Walker, Frank Carter and the Rattlesnakes…) to focus their minds on something vital, new and fresh. This can clearly be heard in ‘Whacked’, a song which pays respect to the late co-writer of the song, Pete Dunne.

"A product of old skool Brixton, the legendary Seven Kevin’s Pete Dunne threatened us with this song prior to his untimely death,” explains founding member Larry Love. “Despite the heavy manners we are proud to declare we rose to the challenge."

“Whacked was made in the early weeks of the first UK lockdown in March 2020,” remembers producer Cam Blackwood. “I think the hedonistic spirit of the song was amplified a million times by the fact we were making the record remotely - with the musicians in the band recording their parts at home, sending them all to me to collate and arrange - then I would send the instrumental track to Larry to record vocals on. The energy was pretty insane - we were like caged animals desperate to get out.

“We managed to find time three months later (when the first lockdown ended in July 2020) to get together and put the finishing touches to the song,” continues Cam. “Being in the studio with a few beers seemed like a fitting way to finalise the tune and put the last 1% of energy into the recording. This song feels like classic Alabama 3 to me. It’s a banger!”

Indeed it is. A low-slung groove propelled by frontman Larry Love’s infamous throat rattle, with the addictive chorus refrain ‘everybody’s getting whacked on something, something that makes them feel good,’ ‘Whacked’ will loop around your brain like a recurring dream you can’t wake from. These are hedonistic conscious unconscious times.

“You can praise the Lord, you can pass the ammunition, you can be woke you can be wicked you can have the wisdom of Solomon but unless you are ready to get whacked with Alabama 3 there’s no point in dreaming,” states Larry. “Rearrange the rubble, paint your bomb shelters and make sure everybody in the neighbourhood feels good cos we feel like getting stooped and you need to get whacked.”

Alabama 3 are very much back. Time to get whacked.

Double album feature some of the greatest funk artists and their film bangers.

This 1959 album doesn’t just include
the greatest doo wop single of all time, “I
Only Have Eyes for You;” it also stakes a
fair claim to being the greatest doo wop
ALBUM of all time. Flamingo Serenade
brought End label producer George
Goldner’s concept of having an R&B
vocal group sing pop standards to its true
apotheosis, as The Flamingos’ rich and
intricate vocal harmonies lent ethereal
textures to such chestnuts as “Begin the
Beguine” and “Love Walked In.” And, of course, there’s “I Only
Have Eyes for You,” one of the most mysterious and existential recordings
ever committed to wax! The Flamingos recorded Flamingo Serenade in true
stereo, and that’s the version we are bringing you in powder blue vinyl to
match the tuxedos the group is wearing on the front cover. One of those
rare albums that appeals to every generation.

From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary Mad Max franchise, comes Mad Max: Fury Road, a return to the world of the Road Warrior, Max Rockatansky. An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken and almost everyone is crazed fighting for the necessities of life.

The film’s epic score is written by Tom Holkenborg, aka Junkie XL, a Grammy nominated and multi-Platinum producer, musician and composer. Junkie XL’s versatility puts him on the cutting edge of contemporary music, as well as in the vanguard of exciting film composers. He is able to draw on his extensive knowledge of classical forms and structures while keeping one finger planted firmly on the pulse of popular music. When this eclectic background is paired with his skill as a multi-instrumentalist (he plays keyboards, guitar, drums, violin, and bass) and mastery of studio technology, a portrait emerges of an artist for whom anything is possible.

For his 1973 debut album as a bandleader,
Lonnie Liston Smith assembled a killer
band of Cecil McBee on bass, George
Barron on sax, James Mtume and Sonny
Morgan on percussion, David Lee, Jr. on
drums, Badal Roy on table, Geeta Vashi
on tamboura, and Joe Beck on guitar.
Such a multifaceted ensemble was
perfectly suited to explore the spiritual
jazz that Smith had encountered while playing
with Pharoah Sanders (“Let Us Go into the House of the Lord” appears here
and on Sanders’ 1970 album Summun Bukmun Umyun which featured Smith),
all presided over by Flying Dutchman label owner and former John Coltrane
producer Bob Thiele. We’ve re-created the original gatefold artwork with Nat
Hentoff’s liner notes…one of the great jazz albums of its era!

Berlin-based violinist Daniel Hope’s latest album takes a deep dive into the rich repertoire of American music, exploring its roots and distinctive qualities. “We know a piece is from America the moment we hear it,” says Hope. “But what makes music sound American?” Daniel Hope – America provides some answers, presenting works by composers as diverse as Leonard Bernstein, Sam Cooke, Aaron Copland, Duke Ellington, George Gershwin, Florence Price, Samuel A. Ward and Kurt Weill in outstanding new classical and jazz arrangements by Paul Bateman for solo violin in different combinations, with vocals, piano, jazz trio, string/chamber orchestra and percussion.

After the two first volumes dedicated to Soul and to Jazz, the MEN COllECTION proudly presents its new release : FUNK MEN. Meet all the great male Funk singers for a new musical journey on a double vinyl.

Wenn es um deutschen Speed- und Thrash Metal geht, dann
dauert es nicht lange bis der Name Living Death fällt. Alte
Fans reagieren ebenso euphorisch wie die junge Generation,
die die Band vielleicht erst durch Wiederveröffentlichungen,
sicher aber durch das Internet kennengelernt haben. Die
ersten beiden Alben sind dem frühen Speed Metal zuzuordnen
und bieten eine ebenso hohe Dosis an traditionellem Heavy
Metal. Die folgende EP und das Album „Protected From
Reality“ zeigen die Band im Thrash Metal verwurzelt,
was auch durch den von Violent Force zu Living Death
gewechselten Drummer Atomic Steif möglich war. „Worlds
Neuroses“ war dann die letzte Scheibe mit Sänger Toto und
wurde bei Veröffentlichung 1989 nicht flächendeckend positiv
aufgenommen. Ein Phänomen, denn im Grunde bündelt diese
Platte die besten Eigenschaften der genannten Phasen der
Band und bietet zudem eine wesentlich abwechslungsreichere
Gesangsarbeit. Schon wenige Monate später änderte sich das
Gesicht des Heavy Metal ganz empfindlich, doch in veränderter
Besetzung gibt es 1991 doch noch ein letztes Album. Über
die Jahre hat sich gezeigt, dass „Worlds Neuroses“ trotz klar
strukturierter Songs einfach etwas länger gebraucht hat, um
sich einen gewissen Status in der deutschen Metalhistorie
zu erarbeiten und dass die Scheibe mehr zu bieten hat als
die beiden Thrash-Leckerbissen „Last Birthday“ und den
Titelsong. Intelligent arrangierte, sehr kraftvolle Metalstücke
wie „The Testament Of Mr. George“ bieten zudem auch noch
unterhaltsame Geschichten als Lyrics. Dazu handelt es sich
ganz klar um die bestklingendste LP/CD von Living Death.
Die längst überfällige Vinyl-Wiederveröffentlichung kommt
mit einer Bonus CD (anstatt einem Download-Code) und
mit einem bedruckten Inlay. LP und CD bekamen ein jeweils
separates Remastering.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. Their down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Formed in 2005 in Hudiksvall, Sweden, VILDHJARTA has become an institution of omission. From their origins, they were unafraid to embrace the untraditional. Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album, “måsstaden under vatten” that was finally released October 15th, 2021, with drummer and now noted producer, Buster Odeholm (also known for his work with Born of Osiris, Shadow of Intent and guitar for Humanity’s Last Breath amongst others) heavily involved in the production, mixing and mastering of the music. While working on “måsstaden under vatten” the band also revamped their two first releases. Buster Odeholm comments: "Before I joined VILDHJARTA they were my favourite band. However, I always felt the production could be a lot better and serve the songs a lot more. After joining I asked for the files from those albums to be able to try my own approach. I’ve re-programmed/produced bass and drums from scratch. For producing the drums on ‘Thousands of Evils (forte)’ I got some help from Chris George from Sworn In. I've also remixed and remastered both albums. This has been going on a long time and a lot of remixing has been done as the years have gone by, but now it’s finally time to release it.". Don’t miss the chance to check out classic VILDHJARTA tunes in all their up to date glory, now entitled ”måsstaden (forte)” and “Thousands of Evils (forte)”. Both are available as Ltd. Gatefold marbled LP, Ltd. CD Edition and Digital Album.

Translucent red LP housed in a beautiful gold mirror-board sleeve with large Thundercat logo hologram sticker and gold holofoil detail. Includes two bonus tracks: ‘$200 TB’ and ‘Daylight (Reprise)

Vinyl only (no digital) 2021 Black Friday release

If indeed "you blows who you is," as Louis Armstrong once famously said, then Stephen Bruner's bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010's Cosmogramma and further distilling the jazz current running through that landmark Lotus release. A longtime contributor to others' albums, Bruner, aka Thundercat, is accompanied by an impressive cast ranging from Erykah Badu to members of Sa-Ra and J*DaVeY, to pianist Austin Peralta and his own Grammy-winning brother, drummer Ronald Bruner, Jr. Still, the end result is unmistakably a Thundercat record -- a lush and magical document combining classic jazz fusion, futurist electronic strains and timeless musical seeking.

Spanning a cosmic stew of players, locations and times, The Golden Age of Apocalypse was years in the making. . There's the ebullient "Daylight," a soft whirl of bluesy piano, New Age synth, snapping beats and warm bass. There's "Walkin'," an upbeat soul strutter powered by Bruner's digitally distorted plucks. There are raw, improvised numbers like "Jamboree" and virtuosic bass pileups like "Fleer Ultra." One of the album's most stunning moments arrives with a spacious cover of George Duke's "For Love I Come," a taut beauty spangled with crystalline harp and keys. Bringing this string of divinely unexpected moments to a moody and cinematic close is "Return to the Journey." There, Bruner sings, "Time will pass us by," but listeners needn't worry. Inside of this space, time really isn't a thing.

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

The seventh album, The Night Before, by the Belgian band Hooverphonic was originally released in 2010 and marked a new period in their existence. Singer Geike Arnaert left the band and was replaced by Noémie Wolfs. The new formation worked out well, since the album went platinum in Belgium. The two singles “The Night Before” and “Anger Never Dies” entered the top five of the Flemish single chart.

The Night Before is available on black vinyl.

"On May 15th 2021 Paul Weller performed an exceptional concert with the hugely talented BBC Symphony Orchestra and award winning arranger Jules Buckley.

This extraordinary performance was a first for Paul, performing with a full orchestra, and saw a quintessential selection of his vast catalogue exquisitely reworked and updated into 75 minutes of breath-taking music that was broadcast across the BBC.

"The new album ""Canzoni segrete"" is about the power of music, the
consequences of prosperity, about a strange plague and changing
passions, about dreams, hopes, disappointments
The songs have their roots in recent decades, ""Leo""– adapted in 1994 from the
French original by Georges Moustaki – being one example. Predominantly,
however, they were written during the months between January 2019 and June
2020. Recorded in studios in Italy, France, Germany and Switzerland, the album
turned into a profound project that challenged Pippo Pollina as a composer and
poet, but also as a thinker, musician and arranger.
With a rough and at the same time sonorous voice, Pippo Pollina rejoices and
argues, chats and reflects. At times with a touch of the laconic, but never without
a fundamental reverence for the beauty of sound and the power of art, in the
knowledge that music is a gift. That is the foundation, despite all doubts, for an
ambitious, mature and coherent album, which Pippo Pollina will bring to the stage
from the beginning of 2022, culminating in a grand finale in the Verona Arena in
August 2023.

For fans of Tall Heights, Sufjan Stevens, & Indie Folk! Steadily building their artistic style and audience for the past seven years, New Jersey based alternative folk band Cold Weather Company carries a diverse sound, rich with harmonies and instrumental builds. The band combines the various writing approaches and influences of its three members, Brian Curry, Jeff Petescia, and Steve Shimchick, to create unique arrangements with intricate layering. Over the past few years, the band has earned over eight million cross-platform digital streams and supported acts such as Tall Heights, Jamestown Revival, and Juke Ross. On their fourth full-length album, Coalescence, Cold Weather Company continues to expand their acoustic-forward, alternative folk sound into new territory. With delicate additions of synths and electronic instruments, as well as a broadened palette of horns, percussion, strings, and harmonies, "Coalescence" explores each song down to its smallest sonic niche. Conceptually, the album revolves around growth by highlighting our capacity to better ourselves and our connections through introspection and reflection. Often occurring cyclically, especially in nature, the idea of growth also inspired the release process for the album which will be split into three parts, each representing a different conceptual facet. "With their spot on songwriting and boisterous melodies, Cold Weather Company is set to follow in the alt-folk leaning sounds of Avett Brothers, Ben Howard George Ezra