quête:houston

Houston, TX Legend & Rap Icon Sauce Walka, unleashes his first full length offering of 2024, Saucefather 2. The album is the follow up to his widely celebrated mixtape, The Saucefather, originally released in 2017. With features from Lil Yachty, BossMan Dlow, Wizz Havinn, Peezy, YTB Fatt & more, Sauce has earned his respect in the rap game, consistently proving "he's a force to be reckoned with lyrically" said HotNewHipHop. With cosigns from heavy hitting rap luminaries such as Jay-Z, Drake, J. Cole, Bun B, Conway the Machine and more, it’s clear Sauce Walka’s trajectory is only headed upward. Filled with odes to DJ Screw, Saucefather 2 pays homage to the unique and innovative Houston Chopped & Screwed Hip-Hop culture.

"#1's" ist eine Zusammenstellung von Mariah Careys ersten dreizehn Chart-Singles. Erstmals 1998 herausgegeben, umfasst dieses Greatest-Hits-Album Klassiker wie "Always Be My Baby", "Fantasy" und "One Sweet Day", sowie vier Bonustracks, die bereits auf der ursprünglichen Vinylausgabe enthalten waren. Verfügbar als Doppel-LP auf Metallic-Silver und Black-Swirl Vinyl

Zum ersten Mal in ihrer Karriere werden ODESZA Live-Versionen ihrer Songs als ein zusammenhängendes Album veröffentlichen, das die fast unbeschreibliche Magie ihrer ausgedehnten und eindringlichen Konzerterfahrung zum Leben erweckt. Das Album wird auf 3LP Ghostly Clear Vinyl in einem maßgeschneiderten Trifold-Sleeve mit einer Ausstanzung in der Mitte erscheinen. Das Paket enthält drei austauschbare, matt lackierte Innenhüllen, die es den Fans ermöglichen, ihr eigenes Cover zu wählen. Vorbestellungen sind ab sofort im ODESZA-Store möglich. Produziert von ODESZA (bestehend aus Harrison Mills und Clayton Knight), wurde „The Last Goodbye Tour Live“ während ihrer monumentalen „The Last Goodbye Tour“ 2022 und '23 aufgenommen, der ersten Amphitheater-Tournee, die jemals von einer elektronischen Band unternommen wurde. Fast jeder Song wurde für die Live-Show überarbeitet und neu arrangiert, und die Kreativität und der Einfallsreichtum von ODESZA sind auf dem Album deutlich zu hören. „The Last Goodbye Tour Live“ ist komplett mit der bekannten ODESZA-Drumline, zwei Bläser:innen und einer wechselnden Besetzung von Sänger:innen wie Naomi Wild, Sudan Archives, Izzy Bizu, MARO, Mansionair und Charlie Houston. Das kommende Live-Album wird zeigen, warum ODESZA zu einem Live-Musik-Muss geworden sind, da sie in den letzten Jahren als Headliner bei fast jedem großen US-Musikfestival aufgetreten sind (einschließlich Lollapalooza, Bonnaroo, Outside Lands, Austin City Limits, Electric Forest, Governors Ball Music Festival und anderen). Das Live-Album wird vor der großen „The Last Goodbye Tour“-Finale von ODESZA erscheinen, das diesen Sommer stattfindet und das unglaubliche aktuelle Kapitel ihrer Karriere mit einem großen Höhepunkt beenden, mit zahlreichen Terminen, von denen viele ausverkauft sind, in kultigen Venues wie Madison Square Garden, The Greek Theatre Berkeley, BMO Stadium, The Gorge und Folsom Field.

ntroducing the third volume of the legendary collaboration series, "Trillstatik," by dynamic duo Bun B & Statik Selektah. Recorded live in New York City on December 20th 2023, this album encapsulates the essence of hip-hop's raw vitality and timeless appeal.

In this new installment, Bun B's unmistakable Southern swagger intertwines seamlessly with Statik Selektah's masterful production, creating an explosive fusion of gritty beats and poignant lyricism.

"Trillstatik 3" carries the traditional star-studded lineup of guest appearances, and joining Bun B and Statik Selektah on this volume are luminaries of the rap game, including the lyrical juggernauts Benny The Butcher, Method Man, Boldy James, Rome Streetz, Lord Sko, CJ Fly, Smoke DZA, Termanology, Lukah, and countless others.

With Bun B and Statik Selektah at the helm, "Trillstatik 3" leaves yet another indelible mark on the rap landscape and solidify its place as a timeless classic in the annals of hip-hop history.

Pop Music by Iggy Pop is the 1996 compilation featuring the 20 best tracks released through BMG between 1979 and 1981, including ""Bang Bang"", ""I Need More"", ""I'm Bored"", ""New Values"" and ""Five Foot One"". Iggy Pop was associated with Virgin Records for much of his post-Stooges solo career, but for a brief spell during the late '70s and early '80s he called Arista Records (BMG) his home. This era saw punk's godfather stray away from the primal style he is known for, as he experimented largely with new wave sounds. For the very first time, Pop Music is available on vinyl as a limited edition of 1500 individually numbered copies on ash grey coloured vinyl and includes an insert.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

„Ladies Of The 80s Collected“ zeigt das Beste aus den 80‘s, mit Bnads und Künstlerinnen, die weltweit Nummer 1 Hits hatten. Zu den Titeln gehören der Smasher "How Will I Know" von Whitney Houston, Pat Benatars "Love Is A Battefield", Kylie Minogues Mitsing-Hit "I Should Be So Lucky", Prince-Schützling Sheila E. The Glamorous Life", Teenage-Popstars-Songs von Debbie Gibsons "Only In My Dreams", Tiffanys "I Think We're Alone Now" neben Popsongs von The Bangles' "Manic Monday", Propagandas "Duel" und 19 weitere Tracks der "Ladies Of The 80s".

Pressed On Coke Bottle Clear Vinyl! Ridin' Dirty is the third studio album by dirty south legends Bun B and Pimp C - together known as UGK. It is easily considered one of the greatest southern hip hop albums ever made, but let's drop all the labels this is just pure good rap music, for any region. It's all right there, everything that people have come to expect from Houston rap: candy-painted cars, wood-grained steering wheels, flashy jewelry, late-night odes to lean and weed, passing references to DJ Screw tapes, those warm funk synthesizers that sound like radio oldies. All of Ridin' Dirty feels iconic now— among other reasons, because so many of its lyrics have since been cribbed by everyone from Slim Thug to Jay Z. There's the laid-back badassery of "Diamonds and Wood," the zoned-out celebration of "3 in the Morning," the ridiculous boasting of "Fuck My Car." Everything here is essential. Ridin' Dirty was produced entirely by Pimp C and features start to finish bangers such as One Day', Murder', Hi Lif' and of course the title track Ridin' Dirty.' Pimp C's makes use of perfectly chosen Soul, Funk and Gospel samples to create a perfect soundscape for he and Bun B to trade verse over. Despite there being no singles or videos released from the album, the set went on to be a pivotal moment in southern hip hop as well as UGK's best-selling and most critically acclaimed release.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."

NOW Music is proud to present the third in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres of 1980’s Dance music. This volume, featuring 30 tracks across 2 LPs pressed on flaming yellow and orange vinyl, presents the best from the era of Soul and Disco.

The first LP kicks off with Tina Turner's landmark remake of ‘Let's Stay Together,’ a testament to her timeless vocal prowess. Jocelyn Brown’s ‘Somebody Else’s Guy’, brings a fabulous fusion of Funk and Soul, followed by Gwen Guthrie’s anthem ‘Ain’t Nothin’ Goin’ On But The Rent. Womack & Womack's ‘Teardrops’ blend of captivating lyrics and rhythm, leads into Joyce Sims' ‘Come Into My Life’, before the Stock Aitken Waterman written & produced ‘Say I’m Your Number One’ from Princess. Loose Ends' ‘Hangin' On A String’ offers a smooth, jazz-infused sound, echoed by Will Downing's very first hit, ‘A Love Supreme’, which closes this side.

Side B takes you on a whirlwind trip around the dancefloor with Whitney Houston's ‘How Will I Know,’ showcasing her stellar vocal range. Alexander O'Neal’s ‘Criticize’ and Aretha Franklin's ‘Who's Zoomin' Who?’ bring a blend of irresistible beats. Lionel Richie's ‘Dancing On The Ceiling’ makes you want to move, and Laura Branigan’s ‘Self Control’, alongside Imagination's debut single, ‘Body Talk’, offers a cross of Hi-NRG Disco with a sensual groove. Hi-Gloss's ‘You’ll Never Know’ is a gem of smooth, elegant Soul to finish the first LP.

Side A of LP 2 begins with the iconic duo Ashford & Simpson's ‘Solid,’ a celebration of enduring love. Up next is the #1 Disco anthem ‘Fame’ from Irene Cara, and Diana Ross's ‘My Old Piano’ - showcasing her unique ability to blend Pop with Soul on this Chic-produced classic. Donna Summer's Grammy-nominated single ‘Love Is In Control (Finger On The Trigger)’ fuses Disco with a Funk edge, while Odyssey's ‘Inside Out’ provides a smooth, and melody filled dance. Terri Wells's ‘I'll Be Around’ is a soulful delight, and Hall & Oates' ‘I Can't Go For That (No Can’t Do)’ mixes Rock with Soul, and became a hugely sampled and influencial track. The side ends on a romantic note with Fat Larry’s Band's ‘Zoom’.

The final side opens by showcasing Rufus and Chaka Khan’s ‘Ain’t Nobody,’ a masterpiece of Funk and Soul synergy. Womack & Womack make their second appearance with ‘Love Wars’, followed by Steve Arrington's ‘Feel So Real’ - a true example of the era's crossover with Disco and Soul. Miami Sound Machine's ‘Dr. Beat’ injects Latin-infused Pop rhythms, while Jermaine Stewart's biggest hit ‘We Don't Have To Take Our Clothes Off’ became a global dance-floor smash hit. Billy Ocean's Grammy award winner, ‘Caribbean Queen (No More Love On The Run)’, blends Soul, Disco and Pop, and Sister Sledge's ‘Thinking Of You’ is the perfect closer, uplifting and full of joy.

A Limited edition pressing, and an essential addition to any collection. Perfect for collectors, DJs, and anyone who loves to get down to the greatest dance-floor-fillers of the ‘80s. NOW That’s What I Call 80s Dancefloor: Soul & Disco is released on February 23rd 2024.

Limited orange vinyl. We've all heard the axiom, "if you ignore it, maybe it'll go away." That goes double for a lot of people who wish to apply that saying to rap music. But when it comes to the West Coast "gangsta rapper" genre made popular by the likes of NWA, Eazy E, Ice-T and his Rhyme Syndicate cohort, King Tee, the truth is hard to ignore. King Tee aligns producer DJ Pooh on this Bass EP consisting of tracks recorded in 1987. They're joined by The Compton Posse that includes the late Mixmaster Spade and J-Ro from Tha Alkaholiks. This EP sharpens the skillful word play King Tee made famous on his debut album Act A Fool. From song to song, this EP has a superior sheen, a tightness and cohesiveness between rhyme and music. Born in Los Angeles and now a resident of the infamous West Coast rap capital, Compton, California, King Tee truly is a product of the streets. He openly admits to running with gangs in his youth, causing his mother endless embarrassment and frustration. So much so that, in a desperate attempt to turn his life around, she turned King Tee into the authorities when she discovered him stealing from her. Once out of jail, King Tee ran of to Houston, Texas. Trouble is that he was underage atthe time, so his mother again had King Tee locked up in a juvenile camp. When King Tee finally realized why his mother did what she did, he decided to turn his life around by dedicating himself to music. He listened obsessively to the radio and chose to become a DJ. When King Tee was released from juvenile camp he secured a mixing gig at KSU and then KYOK in Houston. Between station gigs he handled the mix at various venues and clubs. After gaining the necessary experience behind the tables, King Tee moved back to Los Angeles and hooked up with Ice-T. In rapid succession, King Tee met Du Pooh who enlisted him into his rap group (after King Tee bugged Pooh for months), then Pooh introduced Tee to DJ Unknown with whom he made several 12" records for the Techno Hop labelwhich is now released on this EP for the first time since then. Ice-T's influence brought Rhyme Syndicate Management's Jorge Hinojosa into the picture. King Tee eventually signed with Hinojosa who then secured a contract with Capitol Records for King Tee. The result was 1988's Act A Fool.

■ "A Ghost Story" ist ein übernatürliches Drama aus dem Jahr 2017, verfasst und inszeniert von David Lowery, mit Casey Affleck und Rooney Mara in den Hauptrollen. Der Film erzählt die Geschichte eines Mannes, der nach seinem Tod zu einem Geist wird und im Haus verweilt, das er einst mit seiner Frau geteilt hat. Der Film erhielt lobende Kritiken und wurde mit mehreren Auszeichnungen geehrt, darunter von der Boston Society of Film Critics, dem Deauville Film Festival, den Houston Film Critics und dem Sitges Film Festival. Die Musik für "A Ghost Story" wurde von Daniel Hart (bekannt für "The Green Knight" und "Pete's Dragon") komponiert, wie bereits bei allen
vorherigen Filmen von Lowery.

Eine Limited Edition von 500 Exemplaren des Soundtracks ist auf Smoke Coloured Vinyl erhältlich und wird mit einem Druckbeileger geliefert.

Albert Hammond is one of the most prolific, versatile songwriters and performers of his or any generation. His earliest solo hits include “It Never Rains in Southern California” and “The Free Electric Band.” His contributions to popular music (writing and and/or contributing to hit songs by Tina Turner, Whitney Houston, Willie Nelson and Julio Iglesias, Diana Ross, Starship, The Hollies, Joe Cocker, Johnny Cash, Aretha Franklin) cross genres and generations.  Body of Work is an all-new, original, and essential addition to this iconic canon. Written during a time of tumultuous change, Body of Work is the moment a master songsmith takes a step back to reflect on the world, “This is the first step I had to take and the album is what I discovered about me and all of us once I started here,” says Albert. “I can feel the discomfort and impatience in it. That’s just the honest feeling when the world changes for you from oasis to desert, from beauty to chaos… freedom to fences.” From gutsy opener “Don’t Bother Me Babe” through the wistful “Looking Back” and closing with the reflective “Goodbye LA,” Body of Work is an album for the ages, crafted with 50 years of words, experience, and wisdom.

Jeff has recorded an awesome new solo album down in Muscle Shoals, Alabama, with some of the
legendary players, including Kelvin Holly (Little Richard, Bobby Bland etc.), Clayton Ivey (The Staple
Sisters, Thelma Houston), Justin Holder (Keb Mo', Delbert McClinton) and Shonna Tucker (Booker T.
Jones, Drive-By-Truckers). The album is produced the Dick Cooper of The Cooper Brothers.

Psychedelic Anxiety, as a mood, goes something like this: overwhelming, existential, vertigoic, arising when we stare into the void. This metaphysical unease also serves as the title for Brooklyn-based musician Frances Chang’s second album, and as a feeling it’s present throughout, charged by all things occultish. Recorded by Chang and engineer Andrea Schiavelli, featuring a cast of revered NYC DIY players, including Schiavelli (Eyes of Love) and Liza Winter (Birthing Hips), Psychedelic Anxiety relishes in the refining of aesthetic, in the electricity of improvisation, in balancing bleakness with humor. It embodies an idiosyncratic genre Chang calls slacker prog — offbeat, but brimming with spiritual and emotional resonance. The record infuses artifacts of the mundane with otherworldliness— even the love songs live more in the realm of fantasy (or horror) than the romantic. The psychic twin and mirror image of Chang’s 2022 debut full-length Support Your Local Nihilist, Psychedelic Anxiety by comparison is less urgent, leaving space for more nuance and storytelling. Together, these albums represent a new cycle of creativity for Chang, a reset to zero. “Eye Land,” captures Chang on a tour around the Irish and English countryside, in a moment of major life change. “Lying around your spare room,” she sings, “Sky is cloudy here in June.” Around her, guitar sputters and stops. Vocals branch off like vines on the side of an old house. It is a profoundly lovely song, a freaky miniature in the way that a Broadcast song is a freaky miniature. “Darkside” opens up with a particularly memorable narrative moment. “Last night I saw Parasite,” sings Chang, describing how she saw it alone, how regular life that week was acute, weird, intense. How she found comfort in resignation. After all: Psychedelic Anxiety is a serene, bizarre record full of alien sounds and big introspection.

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

20. Jubiläumsalbum der weltweit bekannten klassischen Crossover-Gruppe Il Divo mit neuem Material, darunter ein neuer Originalsong. Erstes Album
mit dem neuen Mitglied Steven LaBrie,nach dem Tod von Gründungsmitglied Carlos Marin im Jahr 2020. Il Divo hebt 2024 mit ihrem 10. Album "XX"
ab. Wieder einmal machen sie einen kreativen Sprung nach vorne und erweitern gleichzeitig ihren Stil und ihre Vision. "Das Album hat wirklich einen
eigenen Sound", so Sébastien weiter. "Es ist aufregend zu hören, wohin wir gehen. Es ist Il Divo, aber es ist das nächste Kapitel"."Es hat etwas
Magisches, dass wir 2022 auf Tournee waren, enge Freunde wurden und zusammen Musik machen", führt Steven weiter aus. "Es ist unglaublich."Für
Il Divo beginnt jetzt eine neue Zeitrechnung."Für mich ist Musik mehr als nur Unterhaltung", sagt David. "Sie trennt den Menschen vom Rest des
Tierreichs. Die menschliche Stimme ist zu Dingen fähig, die jeder im Publikum schwingungsmäßig zuordnen kann. Wir haben alle schon Traurigkeit
und Glück erlebt. Il Divo übersetzt extreme Emotionen in eine moderne Erfahrung von Menschlichkeit. Das ist keine Hintergrund Musik. Wir spiegeln
in unseren Schwingungen wider, wie Sie sich vielleicht fühlen, und ermöglichen eine Katharsis. Wir möchten, dass dies so lange wie möglich andauert.
Solange wir den Atem haben und in der Lage sind, das zu tuntun können, was wir tun, ist das alles, was wir wollen. Wir wollen Fenster der
Transformation für jeden schaffen, der bereit ist zuzuhören.""Alles, was wir tun, ist für das Publikum", erklärt Sebastien. "Carlos wird immer in
unseren Herzen sein. "Nachdem wir einen Bruder verloren und in 20 Jahren so viel erlebt haben, sind Il Divo und unsere Musik kein bisschen müde",
sagt Urs weiter. Das ist für mich das Wichtigste: Il Divo ist nach 20 Jahren immer noch da, und Il Divo ist da um zu bleiben."

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

Texan country blues legend Lightnin’ Hopkins was a fingerpicking genius with a mournful voice who, after a spell in prison, first came to prominence through recordings for Aladdin and Gold Star in the late 1940s. Somehow, by the mid-1950s, his star had waned, but when Samuel Charters appeared at his one-room Houston apartment with a bottle of gin, Hopkins agreed to cut ten unaccompanied songs for Folkways, the resultant Lightnin’ a pivotal success that reignited his career, sparking the blues revival in the process. Full of haunting loneliness, despair, sly innuendo and doses of good humour, this must-have LP is absolutely brilliant!

NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

"Smart Ass Black Boy: Redux" ist die zum 10-jährigen Jubiläum neu abgemischte und neu gemasterte Ausgabe des zweiten Studioalbums des Houstoner Rappers Fat Tony und des ersten Albums für Young One Records (einem frühen Partisan-Imprint).

"Smart Ass Black Boy" war eine der am meisten gefeierten Hip-Hop-Platten des Jahres 2013 und wurde schließlich zu einer der beliebtesten Houstoner Rap-Platten der 2010er Jahre. Das Album landete auf den Jahresendlisten von Complex und VICE, während Noisey und Pitchfork die Videos zu "BKNY" bzw. "Hood Party" uraufführten. Es wurde in der First Listen-Serie von NPR vorgestellt, wo es als "refreshing" und "promising" beschrieben wurde, während Pitchfork sagte das Album "absolutely knocks". Robert Christgau gab der Platte eine A-Bewertung ("homespun and imaginative"), und Rolling Stone nannte sie einen "thoroughly enjoyable batch of smart-ass raps". Fat Tony hat seitdem Platten mit Don Giovanni und Carpark veröffentlicht, zuletzt in diesem Jahr "I Will Make a Baby in this Damn Economy".

Das Album enthält einen noch nie zuvor veröffentlichten "BKNY (Remix)" mit neuen Versen von Mr. Muthafuckin' eXquire, Melo-X und GLDNEYE.












[l] B6. BKNY [Remix] (feat. Mr. Muthafuckin' eXquire, Melo-X, and GLDNEYE) (Redux)

2021 duo album by pianist/composer and Blue Note Records' artist Jason Moran and saxophone great Archie Shepp "Neither Archie Shepp nor Jason Moran are old, and neither are they young - except in spirit and delight. Moran is the more recent arrival, and he's no new kid on the block. They carry age and experience in their playing as much as a youthful fascination with the songs and forms that define this tradition we call jazz. Let My People Go is the timely title of this collection, but when has that message not been relevant? Now, sadly, as ever. This is their first album together, a gathering of duet performances from 2017 and 2018, chronicling a relationship that can sound like the intimate huddling of two old friends: whispered asides, excited exclamations, utterances coinciding with practiced harmony, followed by bursts of laughter. "Ain't misbehavin'!" cries out one. "Waahhhh!!," says the other. Let My People Go offers ample evidence of Shepp and Moran's consanguinity. Both were born in the deep South, raised up in the sound of the blues and black gospel: Shepp in Fort Lauderdale, Florida, and Moran in Houston, Texas."- Ashley Kahn. Archie Shepp: tenor saxophone

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

John Vincent III, ein 26-jähriger Americana-Künstler, intensivierte seine Liebe zur Musik 2014 in Houston,
TX. Inspiriert von einzigartigen Lyrikern wie Bon Iver, The Districts und The Doors, begann John Vincent
III mit der Kreation seiner eigenen Songs. John Vincent III verbindet mühelos folkige, rhythmische Gitarrenklänge mit gefühlvoller, verletzlicher Lyrik und schafft so die perfekte Mischung aus Indie-Folk-Pop.
John hat seine Singles, seine EP und sein von der Kritik gelobtes Album ”Songs from the Valley” selbst
geschrieben und produziert. Ein großer Teil von Johns musikalischem Erfolg kommt von der unbestreitbaren
Leidenschaft und den rohen persönlichen Erfahrungen, die in ihm leben.
Es ist an der Zeit, das zweite Album von John Vincent III, ”Songs For The Canyon”, der Welt zu präsentieren. Dieses Album wurde in Zusammenarbeit mit renommierten Produzenten wie Tom Elmhirst (Amy
Winehouse, James Bay, HAIM, Florence & The Machine, Mumford & Sons), Tony Berg (Phoebe Bridgers)
und Ryan Hadlock (Lumineers) geschaffen. Es ist Johns erste Veröffentlichung seit seinem 2019er Debütalbum ”Songs from the Valley” und zeigt seine Weiterentwicklung als Musiker und Songwriter im Indie-FolkGenre. Das Album verspricht eine fesselnde musikalische Reise, bei der John Vincent III seine künstlerische
Reife zum Ausdruck bringt.

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

2023 Repress

One of Larry Heard's most under-rated albums finally remastered and available as full vinyl release for the first time! Known for his classic early house releases Larry Heard's productions always hinted at deepest outer space, but his 1996 Alien album was his first actual science-fiction record. It's almost as polished as the most mainstream dance production, but just as sublime as any Detroit producer. Heard's house roots often show themselves, while the chords and shimmering production make this an album almost on par with Heard's mid-'80s peak. The project was a recording & sound-development experiment that was mostly constructed around a Korg O1/W workstation keyboard that was left at Larry's studio to check out by Victor 'melodious myles' Houston along with some of the staples of his studio, including the Roland d550 and Oberheim Matrix 1000. Mr Fingers magic touch can be heard all over the album, and this showcases the incredible musical talents of the man, who's name by now cant be left out from any hall of fame when you're talking music innovators from the last century! Recommended!

Like a well-wrought character in a Hollywood movie, 'Standards from
Film', guitarist Mike Moreno's fourth Criss Cross album, exists atop a
solid, cogent back story
Recorded in December 2021, when the world and New York City - Houston-born
Moreno's home for more than two decades - were no longer on COVID lockdown,
it documents the leader's exhaustive investigations into the provenance of ten
iconic standards that, as he puts it, "are the summer jazz workshop tunes" - they
say you have to learn these songs if you want to be a jazz musician. You learn
them very young or in the beginning days of your journey into this music.
The album was recorded December 22, 2021 at the Samurai Hotel Recording
Studio in NY. Recording engineer Mike Marciano also did the editing, mixing and
mastering at Systems Two in NY

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

Pressed On Clear Vinyl! To celebrate the 25th Anniversary of UGK's first album, Get On Down goes the extra mile, presenting it for the first time ever on vinyl. AND 2LP clear vinyl at that, giving the strutting, funky grooves the chance to really stretch out on your system. Back in 1992, Southern hip-hop was still proving to the world that it could sustain a fan base that was chiefly raised on rap from New York and LA. The Geto Boys and 2 Live Crew had made strong cases by the earliest '90s, and Pimp C and Bun B were ready to make their own. Most of the trunk-bumping bass comes from drum programs and basic sampling on these tunes - in later years they would build their sound into something even fuller and deeper. Self-produced with additional work from Houston locals Bernie Bismark and Shetoro Henderson, the tracks here are minimal, slow and menacing, which matched their lyrical approach quite nicely. You can hear the beginnings of the group's true greatness in these early lyrical workouts - several taken from the regional cassette-only EP The Southern Way that got them signed to Jive - with tales of street hustles, relationships and self-reliance in a world stacked against them. They may have been done early-on, but that doesn't mean they aren't crucial to UGK's legacy - cases in point being the three singles: Something Good', a charismatic update to Bill Withers' Use Me Up', and Pocket Full Of Stones' (the latter featured on the Menace II Society soundtrack). Beyond the singles, deeper cuts like I'm So Bad,' Feels Like I'm The One Who's Doin' Dope' and Cramping My Style' made it clear to the world that this crew had the attitude and charisma to make even bigger waves in the years to come.