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Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."

Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.



As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

Track List

Wanda Jackson is a true pioneer of American popular music. One of the first women in history to record country and western music, as well as rock ‘n’ roll, and a brief romantic liaison with Elvis.This collection reminds of the greatness of her peak years at Capitol Records. From the mournful twists of “Sinful Heart,” to the hard-rocking thrills of “Let’s Have A Party” and “Riot In Cell Block Number Nine,” Wanda Jackson attacks the material in her distinctive way, with a wry glance at innocence left somewhere behind. All hail the Queen, and long may she reign!

A pioneer of bebop, Max Roach went on to work on many other styles of music and is generally considered alongside the most important drummers in history having worked with such musicians as Coleman Hawkins, Dizzy Gillespie, Miles Davis, Duke Ellington, Charlie Parker, Stan Getz and more! A seminal set, stretching out towards the directions Max would explore fully on the Candid, Impulse, and Fantasy labels in the 60s. Group members include Booker Little on trumpet, George Coleman on tenor, Ray Draper on tuba, and Art Davis on bass – and the lack of a piano makes for a very exciting sound!

"Featuring Nate Morgan on piano, Jesse Sharps on reeds, Danny Cortez on trumpet, Rickey Kelly on vibes, Joel Ector on bass and Derek Roberts on drums. This music was recorded in Santa Barbara in July of 1987. Since the passing of the great pianist /composer / bandleader Horace Tapscott, the Nimbus West label has continued to document the underground L.A. jazz scene that Mr. Tapscott was once at the center of. A number of great musicians who once collaborated
with Tapscott, like Jesse Sharps & Nate Morgan, have recorded albums as leaders on Nimbus West. The short liner notes state that "trying to play serious music in an area as shallow & fad-driven as Los Angeles, were too much for this band to deal with..." so they didn't last too long. No doubt. This LP is proof that this collective's music was strong, spirited, original and had a great deal to offer. I
can't say that I've heard of any of the rhythm section players but all six members of the collective are excellent musicians nonetheless.
Nate Morgan's "Retribution, Reparation" is first and it has one of those McCoy Tyner-like 70's ensemble vibes with spirited piano and Trane-ish tenor sax sailing on top. The entire sextet is in great form with impressive solos from trumpeter Danny Cortez, vibist Rickey Kelly and pianist Nate Morgan. How musicians as incredible as this escaped notice, I will never understand. The sextet is ultra-tight and swings furiously throughout. Bassist John Ector's "Big Spliff" has a most memorable theme that had me smiling all the way through. The long & inspired soprano solo by Jesse Sharps and that great piano interplay & solo makes this piece even more special. The only cover on this LP is Monk's "Well You Needn't" and it too is done exuberantly. There are over 100 minutes of outstanding music on this wonderful release. Another buried treasure to add to your collection of great gifts from the gods." - Bruce Lee Gallanter, Downtown Music Gallery

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

Östro 430 waren schon immer eine sehr besondere Band. Eine kurze Zeitreise: Es sind die späten 70er- und frühen 80er-Jahre, und in Düsseldorf proben Dutzende junger Gruppen die Revolution: Male, Mittagspause (später Fehlfarben), ZK (später Tote Hosen), S.Y.P.H., Der Plan, DAF. Ihre Barrikade, Bühne und Biertresen ist der Ratinger Hof, der schnell zum deutschen "Mekka des Punk" wird. Doch selbst hier verstoßen Östro 430 gegen jedes Gesetz. Ihre Musik ist aufgedreht, melodiös, brachial und Do-it-Yourself. Die Krönung sind die Songtexte: Lieder wie "Sexueller Notstand", "S-Bahn" und "Zu cool" werden zu Klassikern. Sie schaffen es ins Fernsehen, den britischen NME und sogar in die BRAVO. Die Welt braucht die Östros, aber sie verpasst ihre Chance: 1984 lösen sich Östro 430. 39 Jahre später bekommt die Welt eine zweite Chance. Östro 430 können nicht anders, als anders zu sein als alle anderen. Punkrock, aber nach Hausfrauenart: keine Gitarren - und trotzdem straight. Dazu Texte, die das Reimlexikon neu erfinden: Sie dichten "Diktator" auf "Vibrator" und "Hintern" auf "Pimpern". Sie teilen aus gegen jede Art von Spießertum: machtgeile Populisten, konservative Alt-Punks, ignorante Umweltschweine und politisch Überkorrekte, die Shitstorms diktieren. Und die Östros können sogar anders als anders, nämlich verletzlich sein. In "Bleib hier" heißt es: "Du sagst, ich lieb aus Angst vor dem Alleinesein und jedes Wort tritt meine Zukunft ein". Östro 430, die ungewollten Role-Models der Ü50-PunkerInnen, teilen wieder aus & prangern an - schmackhaft, nachhaltig & wohl bekömmlich. Auf "Punkrock nach Hausfrauenart" sagen nun auch Bela B. von den Ärzten, Bärchen & die Milchbubis und Stefan Stoppok mit ihren musikalischen Gastbeiträgen als Kronzeugen für die Gruppe aus. Einst waren Östro 430 Vorbilder, als es Bezeichnungen wie Rrriot Girls und Role Models noch nicht gab. Und auch heute sind sie wieder Wegbereiter. Wegbereiter wofür? Bis die Welt das passende Wort gefunden hat, nennen wir"s einfach "Punkrock nach Hausfrauenart".

Östro 430 waren schon immer eine sehr besondere Band. Eine kurze Zeitreise: Es sind die späten 70er- und frühen 80er-Jahre, und in Düsseldorf proben Dutzende junger Gruppen die Revolution: Male, Mittagspause (später Fehlfarben), ZK (später Tote Hosen), S.Y.P.H., Der Plan, DAF. Ihre Barrikade, Bühne und Biertresen ist der Ratinger Hof, der schnell zum deutschen "Mekka des Punk" wird. Doch selbst hier verstoßen Östro 430 gegen jedes Gesetz. Ihre Musik ist aufgedreht, melodiös, brachial und Do-it-Yourself. Die Krönung sind die Songtexte: Lieder wie "Sexueller Notstand", "S-Bahn" und "Zu cool" werden zu Klassikern. Sie schaffen es ins Fernsehen, den britischen NME und sogar in die BRAVO. Die Welt braucht die Östros, aber sie verpasst ihre Chance: 1984 lösen sich Östro 430. 39 Jahre später bekommt die Welt eine zweite Chance. Östro 430 können nicht anders, als anders zu sein als alle anderen. Punkrock, aber nach Hausfrauenart: keine Gitarren - und trotzdem straight. Dazu Texte, die das Reimlexikon neu erfinden: Sie dichten "Diktator" auf "Vibrator" und "Hintern" auf "Pimpern". Sie teilen aus gegen jede Art von Spießertum: machtgeile Populisten, konservative Alt-Punks, ignorante Umweltschweine und politisch Überkorrekte, die Shitstorms diktieren. Und die Östros können sogar anders als anders, nämlich verletzlich sein. In "Bleib hier" heißt es: "Du sagst, ich lieb aus Angst vor dem Alleinesein und jedes Wort tritt meine Zukunft ein". Östro 430, die ungewollten Role-Models der Ü50-PunkerInnen, teilen wieder aus & prangern an - schmackhaft, nachhaltig & wohl bekömmlich. Auf "Punkrock nach Hausfrauenart" sagen nun auch Bela B. von den Ärzten, Bärchen & die Milchbubis und Stefan Stoppok mit ihren musikalischen Gastbeiträgen als Kronzeugen für die Gruppe aus. Einst waren Östro 430 Vorbilder, als es Bezeichnungen wie Rrriot Girls und Role Models noch nicht gab. Und auch heute sind sie wieder Wegbereiter. Wegbereiter wofür? Bis die Welt das passende Wort gefunden hat, nennen wir"s einfach "Punkrock nach Hausfrauenart".

As the moon gives way to the sun, so does the night to the day.
Everything breathes whether it is stone, flesh or fiber.
Everything vibrates to the dance of planets and thoughts, creating everything, one big breath.

Includes a download code for the whole album.

Netflix Music präsentiert den Soundtrack von Mike Ladd und David Sztanke zur deutschen TV-Serie 'Transatlantic' von Anna Winger ('Unorthodox'). Idee und Drehbuch des siebenteiligen Historiendramas wurden durch Julie Orringers Roman 'The Flight Portfolio' inspiriert, der die Geschichte zweier Amerikaner und ihrer Verbündeten erzählt, die 1940 in Marseille eine Rettungsaktion gründen, um Schriftstellern, Künstlern und anderen Flüchtlingen zu helfen, während des Zweiten Weltkriegs aus Europa zu fliehen. Schwarzes 140g Vinyl mit bedruckter Innen- und hochglanzlackierter Außenhülle.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

Black cloud is descending – Black Magic Six set to release their fifth album in September, new single Blood of Babylon out now The title of Black Magic Six’s upcoming album Black Cloud Descending really sums up the mood and thoughts of its creators during the album making process. It tells stories of constant escaping, accepting defeat, destinies of outcasts, failures, and drunks. Tales of the wiser, exaggerated lies, vague rumours, fuzzy states of mind and suspicious circumstances – even the thought in the back of your head about the possibility of redemption while standing on the edge of the cliff right before falling in; it’s all there. The album’s first single Blood of Babylon is a garage rocking song about Sam Berkowitz’s relationship with Sam Carr’s speaking dog. Lyrical themes of the upcoming album are moving between reality and the imaginary world; remembering the moments at Belo Horizonte, how to use the powder that protects you from the evil eye, how it felt to wonder in the same alleyways with the werewolf of Istanbul or diving to safety to the bottom of a pond in Northern Savo. Listen Blood of Babylon here: https://youtu.be/S7mEujUIlrw Musically the album is on a narrow path. All the sounds heard on Black Cloud Descending are produced by Taskinen and Motherfuckin’ Japa. Sure, there are two exceptions; the gong heard in the end of Werewolf of Istanbul was recorded by Sakke Koivula at his home and the church bells in the outro of Full House Blues are ringed by unknown. Previous albums of BM6 had lots of guests playing guitar, percussions, harmonica, and visiting singers. People that one could call actual musicians. These past albums have had a softer, more versatile, and maybe even a livelier touch to them. This time around there’s only the core; the percussionist and the singing guitar player. The result is more raw, rugged, and rougher than before. Black Cloud Descending is out on September 1st on vinyl, CD, and digital platforms. The album was produced, recorded, and mixed by Mitro Kylliäinen at Kung Fu Audio along with BM6 during 2022-2023. Original art used for the album cover was made by Greger Grönholm. The band will play selected live shows to celebrate the new album in Finland, Germany, Denmark, and Spain. Dates of these gigs will be announced closer to the release date of the album.

In 1955, Chet Baker prepared the first European tour of his newly formed quartet. The tour began in Holland in September 1955 and continued with stops in Germany, Switzerland, and France. In Paris, pianist Dick Twardzik died from a heroin overdose in his hotel room on October 21, 1955. He was only 24-years old, and his early death was a tragedy for the jazz world. Chet was marked for life by this tragedy and from that point on his own addiction would haunt him forever. This album compiles material from three studio sessions made during that European tour. Side A presents music recorded right after Twardzik's death, and Side B has tunes from the only two studio sessions recorded by Baker with Twardzik.

During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over to the rest of the world. 'Under Heavy Manners'' was an essential purchase as well as a defining statement on the sombre mood of the times in the year that two sevens clash and forty years after its original release, the raw reality of 'Under Heavy Manners' continues to hit home.

Perc Trax's Forever series returns with another forward facing selection of Perc Trax regulars and artists that are new to the label. Now in its fourth edition this time Tham, Perc, Tassid and Dahryl serve up a varied mix of tracks from across the techno
spectrum.

Opening up the release is Tassid, who returns to the label after his recent festival wrecking remix of Perc's own 'Resistor' and his continued work for Stay Up Forever and his own Skuxx imprint. Here he gives us 'Quantum Entanglement', taking dance floors on a twisting psychedelic journey built on a classic rock solid Tassid warehouse foundation.

Closing the A-side is label boss man Perc, returning to the Forever series after this Dirt release for Perc Trax and his Wave Cannon EP for Scalameriya's new Void+1 label. 'Fireball XTC' hits you with a swarm of jabbing vocal shouts pushed forward by rolling percussion rhythms for a typically epic Perc work out. Flip over the vinyl and Synoid cofounder and Driller label head Tham makes his Perc Trax debut with 'Put The Screws On' showcasing a fusion of modern Berlin techno and classic electro synth sounds.

Last up is Elements & Green Fetish producer Dahryl closes the vinyl with 'Just Do It' a grinding slab of main room techno featuring the biggest drop of the release which has been in Perc's sets for months now.

Love Is a Four Letter Word is Jason Mraz's fourth studio album, acclaimed for its introspective lyrics and acoustic-pop sound. Released in 2012, it reached number 2 on the Billboard 200 chart and sold over 1 million copies worldwide, showcasing Mraz's musical versatility and emotional depth.

First Word Records is very proud to welcome Ruby Wood to the label, with her debut solo EP 'Sincerely'.

Ruby is a vocalist & songwriter hailing from Huddersfield, West Yorkshire. Her soulful yet distinctive voice has enabled her to front numerous projects; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

She also toured as lead vocalist for Bonobo's live band, for Nubiyan Twist, and with hugely successful 1940's-esque vocal trio, The Sugar Sisters. There have also been features for dance outfits such as GLXY & Franky Wah, additionally to writing & recording for the likes of Krept & Konan, Alfa Mist, Roska, Hemai, Barney Artist and XOA, to name just a few.

In 2021, Ruby was awarded a DYCP Arts Council grant to fund her own creative project, which was taken as an opportunity to go back to the drawing board creatively, spending time working out how her own music would sound and what messages she wanted to convey.

After initial sketches on her Native Instruments Maschine, she began to work with fellow Submotion Orchestra member, Chris 'Fatty' Hargreaves; a long time friend and collaborator, and a revered musician in his own right, with his low-end theory science triumphantly stamped across his other projects, such as Pengshui and Outlook Orchestra. Ruby and Chris began bouncing ideas back and forth, and gradually this solo project started to take shape and form the bulk of this debut EP.

In Ruby's words "After years of working in big projects with lots of people, I often struggled to feel like my voice was being heard. Branching out on my own is an opportunity for me to make music that I would actually listen to myself! This process has been healing for me, and I'm so proud of myself for continuing to learn and develop my craft, whilst learning how to produce songs from scratch.


Becoming a mother also changed me for the better, and provided me with a wealth of experiences and challenges that have gone on to fuel my lyrics. I've grown a lot, and this EP gives a snippet of my life thus far".

'Sincerely' is comprised of five tracks, firmly based in the realms of hip hop soul and neo soul sonically, with an unashamedly '90s R&B vibe throughout. Throughout the EP, Ruby's story tells tales of motherhood, relationships, commitment, independence and inspirations. Further collaborations on the set come from vocalist Isaac Malibu (on 'Mr. Unavailable'), wind player Arran Kent (on 'My Favourite Song'), and assistance on a couple of beats from acclaimed hip hop producer, Pitch 92 and San Diego's Martel Howard, along with more Submotion alumni, Danny Templeman, Dom Howard and Bobby Beddoe and the debut performance from Ruby's daughter, Amber!

A truly triumphant body of work, this is just the start of a new chapter for Ruby Wood.

Out Of The Blue is the debut studio album by Debbie Gibson and was released on August 18, 1987. The album received favorable reviews from music critics and sold more than five million copies worldwide.

Gibson wrote all ten songs on this album at the age of 16 going on 17, Gibson’s youthful exuberance and energy shine through infectiously on this album. No less than five tracks of this album hit the Top 40: “Only in My Dreams,” “Shake Your Love,” “Out of the Blue,” “Foolish Beat” and “Staying Together”.

This album stands out from the competition due to Gibson’s talent as a singer, musician, pop songwriter, arranger, and even producer.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.