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The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The first of for the tone for his work for the company: Leon Russell Freddie King ’s Shelter label set ’s three albums
superb electric blues with a prominent rock/ soul influence. The massive Texan and the longhaired Oklahoman got it right the first time
around with the aptly titled Getting Ready LP. Recorded at the legendary Chess studios in Chicago, it might well rank as Freddie King’s most creatively satisfying work.

An array of styles is assembled here, ranging from deep Texas Blues to touches of country church Gospel and hard sockin’ funk. Also, Freddie delved deep into blues history to give his spin on some classic pieces of the genre. Elmore James’ “Dust My Broom” is done acoustically, with just Freddie and his Spanish guitar. The production on Jimmy Rogers’ “Walking by Myself” is equally low-fi, adding Russell’s honky-tonk piano ramblings and a tambourine.

Willie Dixon’s “Worried Life Blues”, however, features King at his most powerfully expressive on this electric blues. The fast-paced stomper includes lightnin’-fast solos from King and he can be heard duelling with the studio guitarist Don Preston, as well.

2023 repress in Marbled Vinyl

To say the release of this EP's tracks is long-awaited would be a terribly gross understatement, so it's with much fanfare and general HQ excitement that we announce the sophomore release from the monstrously talented Ross From Friends.

Having been circulating on the net for a fair while now, 'Talk To Me You'll Understand' finally arrives with a fresh mastering, but still thudding along with those scuffed Reebok drums and soaked into fuzzy, stomach-squeezing low-pass filter. All soft chords, soothing vocals, deep-sea bass and skittering hats.

Middle-man 'Gettin' It Done' is a solid label favourite. Less the full vocal flourishes and more the tinkered & chopped MPC underpinned by more dusty drum work that just grows in impact as the track goes on. One for late running and early morning truckin'.

Last but not least comes the R'n'B-inflicted house jam 'Bootman'. Although it takes a good couple of minutes to get going, this is pure 2016 date playlist vibes. Slip the iPhone into the restaurant system and watch the silk melt down from the walls, the tables coat in velvet and ever-lasting passion effervesce from the heaving masses.

Heist welcomes Belgian house maestro UC Beatz to the label with a 5 track EP featuring Marina Trench and Tour-Maubourg.

UC Beatz is a man who likes to do things his own way. You can hear it in his distinctive sound, but it also goes back to when he started producing and putting out records. If he would have asked us for advice back then, we would have definitely tried to talk him out of starting a record label without a good distribution deal. The hours of work to get the records made, printed and stamped is one thing, but going from shop to shop to sell your work, just because you believe in it? That’s just mad.

Thankfully, Belgian producer, DJ -and yes, label owner- UC Beatz didn’t ask our opinion when he started Entrepot Records in 2014 and we’re glad for it. It’s been a total success story for him and an inspiration for independent artists all around. His releases quickly gained momentum, all sold out in weeks and with that, helped him establish his name as stylish deep house producer with his own sound.

Fast forward to 2023, and we find UC Beatz on labels such as Classic Music Company, Razor ‘n Tape and now we’ve his debut on Heist for you. There’s no need for him to go from shop to shop this time, because we’re sure people will jump on this record the minute it hits the shelves.

UC Beatz delivers a stunning 5 track EP with guest appearances from Marina Trench and Tour-Maubourg. The EP sees the artist go from euphoric sample house (Orchid’s Wish) to his classic pad-driven sound on tracks like Purple Corner Fig and Blu Thang. The EP would be good without the collabs, but UC Beatz found a perfect match in style with fellow Heist artist Marina Trench on ‘Make me feel’. His co-production with Tour-Maubourg sees the duo dive deep into a classic Chicago deephouse vibe and deliver the most ethereal track of the EP.

Yours Sincerely,
Maarten & Lars

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

It's often a good sign when one of your favorite musicians steps out from beyond the studio walls and past the stage lights to fulfill their own inspired and creative intent. And Caíto Sánchez is not just a favorite musician, but as his lengthy resume as a sideman shows, he's also one of your favorite musicians' favorite musicians, constantly working without fanfare as an essential ingredient in a larger music feast. Sánchez earned his stripes in the 2000s and beyond as a key session player and an integral touring band member, a quiet standout even among many oversized personalities. A dedicated drummer born in Panama and living in New York, Sánchez is quite capable of keeping time for legends like Charles Bradley, Lee Fields, and Brian Jackson, as well as supporting eclectic outfits like the live groups of Quantic, Chico Mann and Midnight Magic. For all the players who have shared a stage or studio with him it comes as no real surprise, and frankly as a long overdue development, that such a unique artistic force is finally stepping into the spotlight.

With this debut single we get a glimpse into Sánchez's creative and artistic personal space, more precisely a multi-instrumental discipline of not only drums, but also bass, guitar and lead voice. It's an intensely intimate recording debut, a fantastic studio concoction born from the heart of its creator, and later fostered and mixed down by the talented hands of NYCT and Daptone veteran Victor Axelrod. The defining result on this initial 7-inch offering are two heavy psychedelic and moody nuggets of rock enespañol, a decidedly new wave of sounds and style that are quite capable of shining on their own.

Big Red Balloon Swirl Edition! Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Third Pressing of Gilroy Mere's Adlestrop on blue vinyl with a blue cover.

Adlestrop is inspired by the remains of the rural railway stations, that were closed in the wake of the 1963 Beeching Report.

“This record started with Edward Thomas’s poem Adlestrop and a chance visit to the village that it takes its title from. I wanted to see the station, but found it was no longer there, all that remains is the old platform sign Adlestrop, now part of a local bus shelter. However as I walked around the village I was struck that; “all the birds of Oxfordshire and Gloucestershire” were still singing away - like ghosts from Thomas’ verse.

Visiting Adlestrop spurred me to get hold of a copy of the Beeching Report which, in Appendix 2, lists all the services and stations recommended for closure in the 1960s. The names read like an epic British poem, from halts to branch-line stops and stations and singular terminals for public schools, mines, ferries and even an asylum. There’s Ravenscar where a resort was planned but got no further in its construction than the station, and a hotel - the grid marked out for the roads never laid. Bethesda, a short branch line from Bangor up towards Snowdonia, was used for slate and passengers and is now just a quiet green valley, Christ’s Hospital on the old Cranleigh Line, opened with seven platforms to cope with the daily flood of pupils attending the famous school nearby which never came as it was a boarding school. Many of the stations have vanished, with just fields and car parks left in their place, some are repurposed as houses, or shops, or abandoned as artefacts of a lone-gone industrial past.

Armed with a digital recorder, and with a copy of Beechings Report as my guidebook I made notes and recordings on my travels around the country, and used them as the starting point for a set of pieces that try to capture the fading layers of history, in the areas where the stations had once stood making sure each track retains something of the real place within them. Back in my studio I reacted, improvised, and crafted musical responses to each station, trying to capture the ghosts and former lives of the stations and their imprint on the present.”

Gilroy Mere is Oliver Cherer who trading as Dollboy, Rhododendron, and Australian Testing Labs as well as his own name has meandered his way through the backwaters of left of centre English folk, ambient and electronic music, issuing numerous albums of original music to much critical acclaim via highly regarded boutique labels such as Static Caravan, Second Language, Deep Distance, Polytechnic Youth, and Awkward Formats.

Bella Boo is back on Studio Barnhus with her most direct and club-focused material yet. A veteran of the Stockholm underground, named “one of the most promising new artists not only on Studio Barnhus, but in house music in general” by Resident Advisor, Bella has channelled the energy of her recent DJ dates at Berlin’s Panorama Bar and London’s Phonox into this Looney Talks EP, a collection of four intoxicating dance trax full of intense rhythmic themes and inventive new takes on classic rave sounds.

First time vinyl reissue of this awesome 1978 Latin jazz-funk gem by Venezuelan guitarist Alex Rodríguez, featuring top musicians like Jorge Dalto, Nené Quintero and George Benson’s band members Dennis Davis and Stanley Banks, among many others. Originally self-released and distributed in tiny quantities, “Búsqueda” has reached grail status among collectors worldwide. The album contains quite a few heaters for the dance floor, like ‘El Mercado’, and tight, keys and guitar punctuated fusion jams! (just check the groovy opener ‘Cumana’.) Rodríguez is a classical and jazz trained guitarist who in the early days of his career joined some of the best orchestras in Venezuela, including Aldemaro Romero’s Onda Nueva. He put together a brief project, La Retreta Mayor, in 1976 which only released one album and would later move to New York where he had the opportunity to record his own songs with renowned musicians of the city at
that time, like Víctor Paz, Charlie Camalliari, Sam Burtis, Mario Bauza, Guillermo Edgil, Bernard Purdie, Jorge Dalto, among others. It took him a little more than a year writing the songs and preparing the material for “Busqueda” but in 1978 Alex Rodríguez would return to New York City. Jorge Dalto had spoken with Dennis Davis (drums), Stanley Banks (bass) who played together with George Benson, and Víctor Paz contacted Alex with Ronnie Cuber (saxes), an excellent saxophonist, who later recorded ‘Cumana’ on his own album “The Eleventh Day Of Aquarius”. Before going to the recording studio they did a rehearsal to review the music, and the next day Dalto, Banks, Davis, Cuber and Alex Rodríguez were recording in the CBS studio on 52nd street in Manhattan. The production and mixing of the album were finished in Caracas, at Sono 2000 studios, with the participation of excellent Venezuelan musicians such as Nené Quintero, Lucio Caminiti, Edgar Saume, Carlos Acosta, Alberto Naranjo, Rolando Briceño, Leo and Frank Quintero, among others. The resulting album contains quite a few heaters for the dance floor, like ‘El Mercado’, and tight, keys and guitar punctuated fusion jams!“Búsqueda” was then self-released and distributed in tiny quantities, becoming over the years a very sought-after collectors item, probably one of the most obscure albums from Venezuela. It now gets reissued on vinyl for the first time, including notes by Alex Rodríguez. 180g vinyl.

After last year's musical excursions to Central & South America and South Africa, Berlin-based reissue label "Matasuna Records" is once again making a detour to the USA for its first release in 2023. Two funk milestones by "United 8" and "Tony Alvon & The Belairs" have been selected from the archives of "Atlantic Records". Apart from a release as part of a Funk45's box set by Warner in 2004, the songs have only appeared on various bootlegs in the past.

Matasuna Records is thrilled tofinally release them as an officially licensed reissue with new mastering as a 7-inch vinyl single. This release is an absolute must-have for all funk enthusiasts, DJs and collectors.

"Getting Uptown (To Get Down)" by "United 8" is a funk classic released on Atlantic Records in 1972. The musicians of United 8 created an infectious sound with a combination of horns, guitars, drums and bass. The drums drive the beat and give the track its distinctive rhythm, while the bass provides a powerful, pulsating foundation. The horns add a jazzy note, while the guitar adds a funky touch.


The result is an energetic, danceable sound that still sounds fresh and exciting today. The song is timeless and has lost none of its appeal.It's no wonder that it has been featured on many funk compilations since the 2000s.

"Sexy Coffee Pot" by "Tony Alvon & The Belairs" is an explosive and energetic funk jointfrom 1969that immediately captivates the listener. The rhythm section lays down a steady, infectious groove, while the guitar and horns provide a funky, dynamic sound that complements each other perfectly.

It's no surprise that "Sexy CoffeePot" has been sampled and covered by so many hip-hop artists over the years, such as "Eric B. & Rakim", "Cypress Hill" or "DJ Shadow", to name a few. B-boys and B-girls also appreciate the upbeat vibe of this song, which has become a staple on battles.

A lot can happen in ten years.

Rewind back to Gateshead in 2008 - the producer Smoove is round his friend and keyboard player - Mike Porter's house. Together they are working on tracks for his project and all of a sudden they hear a heavenly voice from the neighbour. Transfixed by the vocals that are caressing their ears they go and investigate to find a youthful John Turrell doing his thing at a practice with a local band he played with when he wasn't teaching carpentry at the local college. Together they woo him with their Geordie charms and the initial line up of 'Smoove & Turrell' is born. The group instantly gel and soon after have penned the killer track 'I Can't Give You Up'...

Flash forward to 2019 and the carpentry community looks on with jealousy as the group has gone from strength to strength. Signed to the independent label Jalapeno Records they are now five albums deep and they have achieved multiple radio-playlisted singles, won awards, toured with the likes of Chic, gained sync success across the world and continue to wow venues in all continents with their thrilling live shows on the regular.

All of this in an age where attention spans are shorter than ever and there is more access to music than ever. This is certainly an achievement worth celebrating. Doubly so in fact as not only is it their ten year anniversary collection but also it is the 300th official release on Jalapeno Records so it only seems right that the occasion gets commemorated properly - a double gatefold LP with brass coloured vinyl somehow seems appropriate...

Comprising of 18 tracks taken from all five of their studio albums as well as two new barnstorming tunes exclusive to this release - it's a veritable feast of northern funk gems from start to finish. Favourites from their deep catalogue including 'Slow Down', 'Beggarman', 'In Deep', 'Have Love' and 'You Could've Been A Lady' are all present and correct, lining up next to the two newbies which also hold their own.

"But what about the new tracks!" we hear you cry - well Smoove's solo rework of The Spencer Davis Group - I'm A Man is the stuff of legend with physical copies changing hands for huge sums (if you are lucky enough to be able to locate one in the first place!). The track has long been a staple of S&T live sets but they've never laid it down in a studio recording... That is until now. It's a monster of a tune and the perfect way to kick proceedings off on this record.

That's not all though, as the lads also serve up the aptly reflective 'Give it Back'. It's signature Smoove & Turrell stuff - full of soul with deep and heartfelt lyricism. Turrell's chorus refrain "We love the ones who give it back" is typically honest and true of a band that prides themselves on community. Proper canny that. Proper canny.

Following the release of their 2021's critically acclaimed album The Black Stone Affair, instrumental cinematic-soul outfit Whatitdo Archive Group unleashes two startling new singles: "Forbidden Cove" and "The Cashmere Chamber", out on limited edition 7'' on March 24th via Record Kicks. The 45 is limited to 500 copies worldwide and it is just an appetizer of the upcoming new album Palace Of A Thousand Sounds, scheduled for release on May 5th, 2023. Whatitdo Archive Group previous 45s went sold out in weeks and are currently very in-demand from collectors and djs.

On side A, we find the first single "Forbidden Cove". We are immediately greeted with top-notch production that feels like we stumbled upon yet another lost rarity, but this time from the heyday of American "exotica" music from the mid-century movement of the early '60s (think Martin Denny and Les Baxter). The twist here is that the underlying tone is dark, heavy and cinematic. WAG flexes their compositional chops and maturity with clever arrangements, a tight rhythm section and dreamy vibraphone that lead us to dense Arthur Verocai-esque orchestral arrangements and hypnotizing eastern flavors.

From the first notes of the Javanese metallophone, Whatitdo Archive Group welcomes you into "The Cashmere Chamber", on side B of the 7''. Less a room and more an auditory experience, "Chamber" skillfully guides you deeper into its world complete with menacing drums and bass, sinister vibraphone melodies and a haunting choir. But this driving force of the rhythm section isn't enough for WAG; we see the song quickly blossom into an adrenaline pumping guitar feature layered expertly with a Turkish baglama saz and percussion. This track is a sample-worthy heater for any DJ.

The new album Palace Of A Thousand Sounds will be available May 5th, 2023 on limited edition LP, CD and digital platforms. Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective (Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig and Blues & Soul Magazine, BBC 6 (UK), FIP (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

On behalf of re:discovery records, it is with great excitement that we announce the 1st of a 3EP set highlighting the music on 1990's Norwegian electronic act Neural Network. In 1993-1995 they released 2 full albums or Origo Sound that featured label mates Biosphere. In 1993 they opened up for Prodigy and shared the bill with other seminal acts like AFX, Autechre, Orbital and H.I.A among other heavyweights. However, their 2 full albums 'Brain-State-In-A-Box' & 'Modernité' did not get picked up by any other label or distributer and their popularity stayed regional. In fact a 3rd album was never released (Until part 3 comes from this series!) and sadly they went their separate ways to form other electronic acts in 1997. We hope to shine a bright light on their early music. Side A features the wonderful aquatic adventure in 'Aqueous' followed by a shift into the sci-fi realm with the mysterious 'Mechanical Heart'. Two great examples that show off the group's deep post rave sound for the future. A real melding of styles. All 3 EP's have inserts where the band shares their memories of the early days.

All these tracks in the series are placed on vinyl for the first time with fantastic artwork by UK's Grid Pattern. Dare to Dream! Its not only our credo at re:discovery records but it's also our goal in hearing music that was made for the stars.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

A year and a half ago, THE MFA returned to the fore once more, when we released their "Oranges and Lemons EP".

Their new album, “Lights Out”, which could be described as a long time coming, is definitely THE MFA’s most ambitious work to date.

As they put it in their own words: “The album is very special to us. It’s a long ambition brought to fruition. It’s an album that is at home on the dancefloor or at home. We’ve always been influenced by 90s rave culture and the club scene of that era and the explosion of creative freedom through electronic music that happened back then.”

The album sums up what THE MFA stands for; their love of electronic music intertwined their love of songs and melody, sometimes banging, sometimes pensive, sometimes longing, occasionally up-beat and happy. Melodic techno-pop-rave then.

The album opener "My Desire" pins down the essence of the album, showing some pop sensibility and a healthy dose of that early 90s spirit with longing vocals by Rhys Evans. The track shows from many angles of the intensity of what club culture was about. The track has, for sure, that pop quality which sets it apart - it is a very complete and rounded and in the true sense, a hit.

"Identify This" kicks off with blissed-out sci-fi sounds but commences with 90s rave chords that gets under your skin and creates a fantastic kaleidoscopic picture of moody UK rave with these spurts of emotional uplifting moments which are worth every penny.

"Bear Likes To Rave" takes us back to the warehouse days and reminds us of the acid warehouse parties with fanned stroboscope beams and dry ice cannons. It’s like looking down on a rave party happening from above, from a bird's eye view, which is in full swing where the euphoria spills over into the audience. "Girl Ahead" is a vocal track exclusively on the digital version of the album, again with Rhys Evans on vocal duties. Here they ponder all the possibilities of the future and the mistakes of the past. Features space toms and grand piano rave chords to evoke a housy feel within.

With "Freedom24" a Hi-NRG melody meets nightcrawler sounds ala "Klang De Familie". This is a soundtrack for the night.

"Lammas Day" has the chilling exotic quality of 808 State "Pacific State" if you grant us this comparison, paired with some phantastic Dr Who sensibilities! This track is quite a voyage!

"Warehouse"... Make Some F-...ing Noise... A TV presenter speaks about Acid house...... This is a wild mash up of impressions which nicely go together due to the melodic string composition and the 303 sequences.

"The Snapping Branch" starts with a mash up of sounds and then dives into an episodic snapshot of "happiness" when the serotonin shoots in (just before it drops). Experiencing a perfect flow that does not want to end. Every clubber knows that feeling.

"You Make Me Smile" is the third vocal track on the album featuring Rhys Evans on vocals. It has fantastic radical stark mood changes and blatant shifts, therefore throws the listener from one corner to the other. Just like the contrast of day and night. Bits here and there might conjure a Radiohead spirit, but really this is all MFA.

"Lights Out” certainly puts across the feeling you get at the end of the night - the club has closed; you are walking home. These are the sounds and feelings in your memories as you chase the vibe that is dwindling as the club becomes ever further away.

One of the most spoken of dnb formations is back with a double pack that's one of the most spoken of project since their collaboration with Mayhem and KRS-One. They're taking the word collaboration to the next level with this spectacular Collision EP. 4 tracks made by Noisia colliding with other heavyweight formations from across the globe! The opener is "Cannonball", it starts off as one giant drum roll and then turns into a dancefloor roller that just "stays classy" everywhere you play it! For the second track Noisia collabs with Black Sun Empire to bring real 100% Dutch flavor to the floor. "Infusion" is a track that takes its inspiration from the Negative camp but blended to perfection by these 2 grand masterminds of music.

Plate 2 brings a tune that sounds a lot like ram trilogy's titan classic but your ears deceive you in this one. Its none other then a collab by Noisia & The Upbeats with a track titled "Mudslide"! it's heavy, it's bad, it pounds, it flows, it's just one of those records that can't be beaten! The closer is another collab by Noisia & Phace called "Levitation", this roaring production shows what this scene is all about: heavy beats combined with sick reese basses and a neurotic funk that you just can't get your hands on!

Again Noisia delivers proper quality with this slamming EP. This is one Collision you just can't wait to feel!

Comes in standard full colour Vision Recordings repress sleeve.

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

Avid Habibi Funk listeners may be familiar with Libyan composer / producer Najib Alhoush, who’s track “Ya Aen Daly” - the Bee Gee’s “Stayin Alive” cover - was included in our second compilation. While the original track never excited us, Najib’s version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak ‘Kit-Kat’, Mukhtar Wanis and Mohameed Al Rakibi.
Initially, we only licensed Najib Alhoush’s “Ya Aen Daly” from Yousef Alhoush, Najib’s son, who was pleased to hear that there was interest in his father’s music form someone abroad. In the process of exchanging and learning about Najib’s music and career, our understanding was that The Free Music only recorded the one album. This couldn’t be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae.
The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya.
When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from Soul, Jazz, Funk, Disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of Disco, Reggae and Funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong.
The lead-off single is the stupendously groovy “Ana Qalbi Ehtar” out February 3rd along with LP pre-order to capitalize on Bandcamp Friday. From the outset, the rhythmic strumming of the funkified guitars give way to the galloping drums and bass, opening up to anthemic vocals and rounding out with a blistering guitar solo, a certified disco-funk classic through-andthrough.
Second single, out February 17th is the disco slammer “Hawelt Nensa Ghalaak.” Guitars, harmonized horns, synths and bouncing bass and drums collide w/ spaced out vox to make the track a dancefloor sureshot for any party.
Third single is “Mathasebnish,” out March 3rd, a pure disco-funk slammer if there ever was one – with stabbing horns, funky bass riffs, a riding rhythm guitar and anthemic vocals, rounded out with stunning flute and guitar solos – the track will surely be on repeat along with the arrival of warmer weather.
Album focus track “Men Awel Marra” is another standout disco-infused tune, showcasing the immense creativity out of Najib and The Free Music. This past summer we finally had the opportunity to get together with Yousef face-to-face at a coffee shop in Istanbul’s central Istiklal road together with our friend Anas El Horani. Yousef told us the whole story of how his father got into music, the start of the band and his father’s continued conflicts with the Gaddafi regime that probably kept his career from becoming even bigger. As always, both vinyl and CD come with an extensive booklet featuring background on The Free Music and Najib Alhoush, including words from Najib’s son, Yousef, as well as unseen photos, cassettes and more.