Search:hug ho

Another huge little∼big gift from amigo MIKE WATT, himself ← For the second euro∼tour teamed up with czech legend UŽ JSME DOMA frrom May 1 to June 5, 2015 MIKE WATT THE MISSINGMEN proposed me to care of a new —joyful & senseful— selection bringing together (this time) 8 HOMMAGE interpretations from MINUTEMEN’s album «What Makes a Man Start Fires ?»… Such an honour, let’s savour !

← ↑ ↓ Non∼stop respect to Dennes Dale «D.» Boon → April 1rst, 1958 _ _ December 22, 1985 !!

Der legendäre Rockgitarrist Steve Hackett wird sein neues Studioalbum "The Circus And The Nightwhale" am 16. Februar 2024 über InsideOut Music veröffentlichen. Die 12 Tracks von "The Circus And The Nightwhale" sind ein Rite-of-Passage-Konzeptalbum, in dessen Mittelpunkt eine junge Figur namens Travla steht. Für den Musiker haben die 13 Tracks einen autobiografischen Aspekt, der über sein 30. Solo-Album sagt: "Ich liebe dieses Album. Es sagt die Dinge, die ich schon seit langer Zeit sagen wollte." Aufgenommen zwischen den Tourneen 2022 und 2023 im Siren Studio in Großbritannien - mit Gastbeiträgen aus Schweden, Österreich, den USA, Aserbaidschan und Dänemark - umfasst die Besetzung von "The Circus And The Nightwhale" neben Steve an elektrischen und akustischen Gitarren, 12-saitiger Gitarre, Mandoline, Mundharmonika, Percussion, Bass und Gesang einige bekannte Gesichter. Roger King (Keyboards, Programmierung und orchestrale Arrangements), Rob Townsend (Saxophon), Jonas Reingold (Bass), Nad Sylvan (Gesang), Craig Blundell (Schlagzeug) und Amanda Lehmann (Gesang). Nick D'Virgilio und Hugo Degenhardt kehren als Gäste an den Drumhocker zurück, der hervorragende Tontechniker Benedict Fenner ist an den Keyboards zu hören und Malik Mansurov ist wieder an der Gitarre. Und schließlich ist auch Steves Bruder John Hackett wieder an der Flöte zu hören. Steve fasst "The Circus And The Nightwhale" wie folgt zusammen: "Es ist eine schöne Reise, die schmutzig, kratzig und rauchig beginnt und dann himmlisch und göttlich wird. Wie kann man da widerstehen?" Das Album wird als Ltd CD+Blu-ray Mediabook (inkl. 5.1 Surround Sound & Hi-Res Stereo Mixes), Standard CD Jewelcase, Gatefold 180g LP + LP-Booklet & als digitales Album erhältlich sein.

Der legendäre Rockgitarrist Steve Hackett wird sein neues Studioalbum "The Circus And The Nightwhale" am 16. Februar 2024 über InsideOut Music veröffentlichen. Die 12 Tracks von "The Circus And The Nightwhale" sind ein Rite-of-Passage-Konzeptalbum, in dessen Mittelpunkt eine junge Figur namens Travla steht. Für den Musiker haben die 13 Tracks einen autobiografischen Aspekt, der über sein 30. Solo-Album sagt: "Ich liebe dieses Album. Es sagt die Dinge, die ich schon seit langer Zeit sagen wollte." Aufgenommen zwischen den Tourneen 2022 und 2023 im Siren Studio in Großbritannien - mit Gastbeiträgen aus Schweden, Österreich, den USA, Aserbaidschan und Dänemark - umfasst die Besetzung von "The Circus And The Nightwhale" neben Steve an elektrischen und akustischen Gitarren, 12-saitiger Gitarre, Mandoline, Mundharmonika, Percussion, Bass und Gesang einige bekannte Gesichter. Roger King (Keyboards, Programmierung und orchestrale Arrangements), Rob Townsend (Saxophon), Jonas Reingold (Bass), Nad Sylvan (Gesang), Craig Blundell (Schlagzeug) und Amanda Lehmann (Gesang). Nick D'Virgilio und Hugo Degenhardt kehren als Gäste an den Drumhocker zurück, der hervorragende Tontechniker Benedict Fenner ist an den Keyboards zu hören und Malik Mansurov ist wieder an der Gitarre. Und schließlich ist auch Steves Bruder John Hackett wieder an der Flöte zu hören. Steve fasst "The Circus And The Nightwhale" wie folgt zusammen: "Es ist eine schöne Reise, die schmutzig, kratzig und rauchig beginnt und dann himmlisch und göttlich wird. Wie kann man da widerstehen?" Das Album wird als Ltd CD+Blu-ray Mediabook (inkl. 5.1 Surround Sound & Hi-Res Stereo Mixes), Standard CD Jewelcase, Gatefold 180g LP + LP-Booklet & als digitales Album erhältlich sein.

Seiya is an orphan who, as a young boy, was selected by the Kido Foundation to bring legendary bronze armour back to Japan. He succeeds, along with 10 other orphans. Forced by the foundation to take part in a "show", the knights embark on a tournament before the prize, the golden armour, is stolen. Little by little, they realise that their problems stem from the Sanctuary in Greece, home to the 12 most powerful knights, the Golden Knights, and their leader, the Great Pope. His target is the young Saori Kido, heiress to the foundation and reincarnation of Athena.

The series was a huge success and spawned an extensive franchise, with TV series, films and video games. This album features the best music and songs from the anime, composed and arranged by Seiji Yokoyama (GATCHAMAN).

For fans of Deep Purple, Whitesnake, and Glenn Hughes! Trapeze was formed in 1969, the band originally featured former The Montanas members John Jones (trumpet, vocals) and Terry Rowley (keyboards), and former Finders Keepers members Glenn Hughes (bass, vocals, piano), Mel Galley (guitar, vocals) and Dave Holland (drums). Jones and Rowley left the band following the release of their self-titled debut album in 1970, with the lineup of Hughes, Galley and Holland continuing as a trio. Originally released in 1970, Medusa was recorded at Morgan Studios, and was produced by The Moody Blues bassist John Lodge. The line-up of Glenn Hughes (Deep Purple), Mel Galley (Whitesnake), and Dave Holland (Judas Priest) recorded this album and the follow up You Are the Music... We're Just the Band in 1972 before that line-up disbanded when Hughes left in 1973 to join Deep Purple. Medusa has not been released on vinyl since 1979 and now has been fully remastered and comes on amber vinyl with purple, green and black splatter - 180-gram vinyl and a beautiful gatefold sleeve (limited to 250 copies pressed).

Originally released in 1972, You Are the Music... We're Just the Band was recorded with producer Neil Slaven. The line-up of Glenn Hughes (Deep Purple), Mel Galley (Whitesnake), and Dave Holland (Judas Priest) recorded this album before disbanding later that year when Hughes left in 1973 to join Deep Purple. You Are the Music... We're Just the Band also featured a wide range of guest performers, including guitarist B. J. Cole, pianist Rod Argent and saxophonist Jimmy Hastings. You Are the Music... We're Just the Band has not been released on vinyl since 1978 and now has been fully remastered and comes on white, red and black twist 180-gram vinyl and beautifully repackaged (limited to 250 copies pressed – gatefold sleeve).

Tone Def are the original Bournemouth ravers with some absolute classics released in the early 90’s on Moving Shadow. Rog from the band is also the founder of Void Acoustics, the ultimate in club and festival audio equipment, a hobby that became a huge business empire for him.

This EP was written during 1990 to 1991 and had been lost for 30 years until recently, when Rog was checking some of his old ¼” tapes that he took out of storage. These are 4 original UK acid breakbeat rave tracks, encapsulating the raw DIY ethos of the era, of kids messing about in their bedrooms, writing music with no boundaries or templates. Never heard before, never released before… until now.

Acid Boom is a sister label to the Vinyl Fanatiks family. A vehicle to release that early 90’s acid sound that would later morph into rave. High energy 303’s, 808 and 909 drum machines, synced up to rolling breakbeats. Whether music from back in the day or new music that’s been created to emulate that early warehouse sound, Acid Boom is here to take you on a rush.

Tony Boninsegna: Notes From The Underground 1986-1994 (Volumes 1 and 2) Cold Blow / Musique Pour La Danse

The story of dance music is littered with hidden heroes and underground activists whose immense contributions have been overlooked, ignored and under-documented. Tony Boninsegna, a producer who made and released countless classic cuts and forgotten gems during the acid house and rave era, is one such example.

Melding elements of all that was popular in underground clubs at the time to create his own dancefloor-friendly sound worlds, Boninsegna amassed a huge catalogue between 1986 and '94, while hiding his involvement via an array of oddball aliases and opaque pseudonyms. Boninsegna's story first came to light four years ago when he appeared in Join The Future: Bleep Techno and the Birth of British Bass Music, Matt Anniss's critically acclaimed alternative history of UK dance music in the rave era. Now Cold Blow has joined forces with Musique Pour La Danse to deliver a much-needed anthology of his greatest productions and
co-productions - many rare or hard-to-find - for the first time.
Featuring 24 restored and remastered tracks stretched across two volumes on vinyl and digital, including a handful of previously unreleased tracks and mixes, and accompanied by detailed sleeve notes by Anniss, Notes From The Underground 1986-1994 is a joyful celebration of one of British dance music's most under-appreciated artists. The full breadth and depth of Boninsegna's rave-ready catalogue, as well as an indication of
the sheer volume of aliases he utilised during the period, is explored in detail across the two-part compilation.

Fittingly, volume one features two previously unreleased recordings that mark his earliest explorations of the emerging house sound (both as The Rhythm Squad, with Richard Compton), alongside touchstone releases such as Zeco's 'The Witch Trials' (a 1989 production that marked his first outing on vinyl), celebrated workouts recorded with regular collaborator Mykey Tee (Lab Technicians' bleep-inspired 'We Gave U Life', Big Showdown's epic 'They're Here' and AEK's mind-mangling, bleep & breaks number 'Lick It'), and genuinely overlooked gems (the proto-tribal house of Pierrepoint's acid-smothered 'Tonnerre' and saucer-eyed rush of Estudiantes' 'Let The Music Into Your Mind').

It all adds up to the definitive musical retrospective of a genuine underground, rave-era hero whose time in the spotlight may finally have arrived.

COTONETE is back!

After releasing numerous and now collectable standalone singles, plus some now famous collaborations with Dimitri from Paris, 2019 saw Parisian based 8 piece, Cotonete release their first long player in 15 years! Under the guidance of Melik Bencheikh from Paris’ rare record emporium, Heart Beat Vinyl. The dark moody mover "Super-Vilains" came out to great success on Heavenly Sweetness.

After playing some packed live shows around France and the UK, including the acclaimed Sunday at Dingwalls in Camden, hosted by Gilles Peterson and Patrick Forge. Somewhere along this part of the journey, they came across the Brazilian music legend and vocal powerhouse, Di Melo. He softened their souls, and from this love affair came the album "Atemporal". Released on Favourite Recordings, this 8 track album would end up being sampled by Canadian superstar Drake, for his 2023 album ‘For All the Dogs Scary Hours
Edition’.

So now into 2024, and we have Cotonete full length number two. They’ve enlisted the producer Guts to guide them towards sunshine, groove, warmth and all the colours in his rainbow. With their tongues firmly in their cheeks, the album is titled ‘Victoire de la Musique’ - a dig at the annual French music award ceremony. Taking the band deep, producer Guts showed them new and exciting rhythms from all corners of the world. The record’s first example of this is ‘Venezuela’, a track directly inspired by the jazz funk from the great Caribbean nation.

Other key musical exploration on the record can be attributed to the late composer Francis Lai. On ‘Cinq Pour L'aventure’ - an almost 15 minute epic monster showcasing the band’s love for 70's French movies soundtracks. “L’aventure c’est l’aventure”, was a movie by one of the most famous French directors Claude Lelouch The single from the soundtrack was sung by French music superstar Johnny Halliday.

Guests are scattered very tastefully across the album, on the only cover version of the record, the Brazilian master Jorge Ben’s ‘Bebete Vãobora’, Sabrina Malheiros was invited to lend her lungs. The daughter of Azymuth’s Alex Malheiros helps join perfectly the dots from a band that are without a doubt Cotonete’s biggest influence. Brazilian jazz funk, now with an added French touch.

On ‘Day in Day Out’ a powerful performance is given from Leron Thomas on vocals and trumpet. Perhaps also known for his role as the musical director for Iggy Pop and touring member of his band. This track is an already tried and tested dance floor filler, emphasizing just how tight the band really can play - the track even found its way into BBC Music’s Craig Charles’ ‘Track Of The Year’ selection.

No record so soulful would be complete without a trip to the UK. Omar, London’s Godfather of New Soul pops in. Having recorded with artists like; Courtney Pine, Level 42 & Erykah Badu, in his distinctive smooth style, he blesses the track ‘What Did Run You For?’ The final vocal visitor is Gystere Peskine, a Parisian based musical hero, who shows off his retro future funk feels on ‘O Ceu es Preto’ - which literally translates as ‘the sky is black’ - although given the hugely uplifting and almost Gospel Soul of this Russian/Brazilian singer, he
has us seeing things far brighter.

Cotonete have endeavored to build a worldwide rainbow warrior team of merry boys and girls. Fighting the brave fight to shine light towards the fact that music will always win…. "Victoire de la Musique" - a symphony of spring, songs of the new world, a "Victory Of Music”

"He’ll always be a man of his people, but Jamie Webster’s message has cut through hearts all over the land since the folk troubadour’s debut album ‘We Get By’ in 2020. The songwriting may have evolved from those defiant early days on the acoustic guitar, but the hard-hitting storytelling that made his name remains as he continues to give a voice to the masses through towering anthems to hold close through uncertain times.
Though born from frustration and adversity, Webster's music has always managed to encapsulate a sense of unity and togetherness through tough times. Take the breakthrough single ‘Weekend In Paradise’ which distills a living for the weekend ideology of the working classes. An anthem just about everyone working nine to five can relate to, the flagship single speaks volumes of the journey so far as it surpasses 20 million streams on Spotify alone. His second album ‘Moments’ charted in the Official UK Album Chart #3, Indie Chart #2, Official Vinyl Chart #2, Scottish Album Chart #2. The scale of public support for the songs of singular, life-as-he-sees-it-singing, aspirational indie voice of Jamie Webster looks set to reach new heights as he announces the release of his third album, 10 For The People, on Fri 2 February 2024 with Modern Sky UK. While working confidently towards his third Top Ten album chart finish early next year, Webster’s Pied Piper-pull is set to draw a previously unimaginable 40,000 fans to one place as he also announces a HUGE outdoor headline show at Sefton Park, Liverpool on Fri 12 July 2024. "

"He’ll always be a man of his people, but Jamie Webster’s message has cut through hearts all over the land since the folk troubadour’s debut album ‘We Get By’ in 2020. The songwriting may have evolved from those defiant early days on the acoustic guitar, but the hard-hitting storytelling that made his name remains as he continues to give a voice to the masses through towering anthems to hold close through uncertain times.
Though born from frustration and adversity, Webster's music has always managed to encapsulate a sense of unity and togetherness through tough times. Take the breakthrough single ‘Weekend In Paradise’ which distills a living for the weekend ideology of the working classes. An anthem just about everyone working nine to five can relate to, the flagship single speaks volumes of the journey so far as it surpasses 20 million streams on Spotify alone. His second album ‘Moments’ charted in the Official UK Album Chart #3, Indie Chart #2, Official Vinyl Chart #2, Scottish Album Chart #2. The scale of public support for the songs of singular, life-as-he-sees-it-singing, aspirational indie voice of Jamie Webster looks set to reach new heights as he announces the release of his third album, 10 For The People, on Fri 2 February 2024 with Modern Sky UK. While working confidently towards his third Top Ten album chart finish early next year, Webster’s Pied Piper-pull is set to draw a previously unimaginable 40,000 fans to one place as he also announces a HUGE outdoor headline show at Sefton Park, Liverpool on Fri 12 July 2024. "

Fay Hallam is a hugely respected Hammond organist, singer and songwriter.She first came to
prominence in Wolverhampton Mod-popsters, Makin' Time, in the early 1980's, along with a Martin Blunt.
She and Martin, along with drummer John Brookes, then went on to form The Gift Horses, which were the
embryonic beginnings of The Charlatans, which Martin and John then went on to form. Fay’s next project
was as the vocalist and organist in the now legendary, Prime Movers, including the 'Earth Church' LP,
which was hailed by the now-defunct Sounds Music Weekly, as LP of the year. Since then, Fay has gone
on to make over 10 albums, as Phaze, The Fay Hallam Trinity, and then as a solo artist

Jason Grimez is a Cincinnati-based DJ and producer. He has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimez works with some of Cincinnati's finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. The next LP, In The Infinite, is due out 12/01/2023 via Chiefdom Records. Grimez fell in love with music during the golden era of early 90's east coast hip hop - when digging for jazz and funky samples were the backbone of beats. He became comfortable scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. After years of collecting music and working on his sound behind the scenes, he has compiled a huge discography of original songs. In 2015, Grimez started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a studio band of session musicians. Grimez is responsible for writing, recording, producing, mixing, and releasing the records. He gathers a group of musicians in his studio, presents a few ideas, and hits record. Due to a rotating cast of musicians and ever-changing inspirations, no two sessions are alike. "There's no set pattern," Grimez explained. "I'll invite some session players and have them jam on a few ideas. Sometimes we'll start with a drum break and add melodies over top. It's mostly improv, and I can always go back and chop it up." One common thread is the fresh, original sounds. "I like to call it Organic Groove," he shared. "I'm inspired by all kinds of music - instrumental hip-hop, soul, classic rock, jazz, you name it. When we get in the studio, all of the pieces add up to a new sound." In The Infinite features some of the best players in the Cincinnati music scene. Cameron Brown played guitar on several tracks. Brian Batchelor-Glader, an award-winning pianist, was also involved. All 12 tracks provide the perfect backdrop for hanging with a group of good friends or cruising in the car. The drums are solid, consistent, and lay an effortless foundation for all kinds of instrumentation. Jazzy trumpet lines, ethereal keyboards, choppy soul guitar licks, and much more. "Do You Remember?" (track 2) heroes a busy, poppy guitar and a head-bobbing bassline. The record scratching and tape-recorded drum tones on "Plastic Art" (track 7) feels like a hip-hop instrumental from the early aughts. From top to bottom, this record has a lot to offer. Pick up a copy of In The Infinite on vinyl or stream the album on 12/01/2023

We're both over the moon and at the same time sad to have this track with us on Food Music, as we wave goodbye to one of UK house music's most talented duos. After releasing their sublime 'Tell Ya Something' with us, Mak & Pasteman will be calling it a day to focus on personal projects and what a way to sign off.

This looped up disco thumper tops the tree when it comes to the right vibe and production, and as if this wasn't enough, house legend Junior Sanchez joins the digital package with a huge rework and completes the perfect send off for Craig and Matt.

Thanks for choosing us to close your huge musical chapter - and we hope you won't be missing for too long!

Repress!

Newcomer Jac Solaire lands from outer space with a huge double-A side release, unashamedly leaning full tilt into the golden era of late 90’s French House. “Volaris” leads the way bringing huge energy and uplifting vocals whilst the more laidback “Into The Night” provides us with a beautiful Stardust-esque excursion into pure bliss!

Rising star Alex Virgo joins the party with a heavy remix on “Volaris” which twists and turns with hypnotic loops and grooves.

This ones hot ..Vinyl only until further notice!

Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. 'It gave me space to think about the biggest version of myself that I could be,' she says of those early days in the cabin. The songs she wrote were a departure from anything she'd ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again. In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on 'Polar Bear.' She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs. The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it's queer Cyndi Lauper. It's neon pink, in your face, ready to hex you with its brilliance. It's an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

Cam Cameron appears to be another one of those performers from an infinite list of Black American artists that cut a solitary 45 single and then disappear into obscurity never to be seen or heard from again. Couple this with the passing of any of the relevant protagonists from the time along with any of the surviving ones ever diminishing memories and the job of collating events and artists back stories from over 50 years ago becomes that much harder.

Cam Cameron appears to be one of those artists (although our investigations are ongoing). Therefore, from the information currently gleaned, the artist Cam Cameron was none other than Alvin Cameron the writer of the featured song “You Say”, with Cam being a kind of nickname. The string arrangements on both “They Say” and “I’m A Lonely Man” were provided by the late John Andrew Cameron a hugely respected arranger, producer and songwriter within the Chicago music scene of the 1960’s and early 70’s, more often credited as Johnny Cameron. Johnny’s credits can be found on many recordings of the time often working with fellow Chicago music scene producer Clarence Johnson, some of the highlights from this liaison being the song “I Really Love You” recorded by both Jimmy Burns (Erica) and Bobby James (Karol) and the girl group, ‘The Lovelites’, on their acclaimed album “With Love From The Lovelites” (Uni). Johnny’s involvement with the Scott Brothers goes as far back as 1965 when he provided the musical arrangements on The Howard Scott penned song “I’ve Got To Get Over” recorded by Syl Johnson for the TMP-Ting label. Although they share the same surname, Alvin (Cam) Cameron is believed to be of no relation to Johnny Cameron.



“You Say” would gain a release on the independent Capri label owned by Sephus Howard Scott who together with brother Walter Scott composed the 45’s flipside “I’m A Lonely Man”. Howard also featured as one of the songs producers alongside the mysterious Edgar Mullins (a name which has been found on a couple of other tape boxes, the investigations continue).

Musical accompaniment was provided by The Scott Brothers Band, with both songs being recorded at RCA Victor’s Chicago number 2 Recording Studio at 445 North Lake Shore Drive, in the Navy Pier section. on the 10th of August 1967 and released on Capri Records during the month of February 1968.



Cameron’s “You Say” was another 45 that was first introduced to UK Soul Collectors via those much lamented and fondly remembered soul packs, always regarded as a quality collector’s 45 the only regular turntable action remembered was provided by Northampton’s very own discerning DJ Cliff Steele at venues such as ‘Detroit Academicals’, ‘Bretby Country Club’ and later ‘Albrighton’ during the leaner days of the UK Rare Soul Scene?! Hopefully a wider appreciation of both sides of this soulful Windy City 45 beckons! The second release in Soul Junction’s Capri series.

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

SLIFT's ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and SLIFT's utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock. SLIFT is made up of brothers Jean and Remí Fossat, and Canek Flores, who first met the brothers Fossat at school. After the band formed in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock's heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year's full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views. UMMON from 2020 represented SLIFT's pivot towards the celestially crushing confines of psych-metal, marked by Remí's rolling basslines and Flores's relentless skin-pounding. But nothing in their catalog could prepare you for ILION, a huge and melodically dense record that at once recalls Godspeed! You Black Emperor's perpetually uplifting surge, the passionate burn of post-hardcore legends _And You Will Know Us By the Trail of Dead, Led Zep's psychotic blues-rock mysticism, and the psychedelic swirl of Swedish greats Goat.

SLIFT's ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and SLIFT's utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock. SLIFT is made up of brothers Jean and Remí Fossat, and Canek Flores, who first met the brothers Fossat at school. After the band formed in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock's heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year's full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views. UMMON from 2020 represented SLIFT's pivot towards the celestially crushing confines of psych-metal, marked by Remí's rolling basslines and Flores's relentless skin-pounding. But nothing in their catalog could prepare you for ILION, a huge and melodically dense record that at once recalls Godspeed! You Black Emperor's perpetually uplifting surge, the passionate burn of post-hardcore legends _And You Will Know Us By the Trail of Dead, Led Zep's psychotic blues-rock mysticism, and the psychedelic swirl of Swedish greats Goat.

The 80s Italo disco /proto-house classic 'MBO Theme' by the mighty Klein & MBO, repressed! Comes with an heavy (and unheard) South African version on the flip. Huge Tip!
The MBO Theme' (1983) has been a dance floor favorite since decades, created by Mario Boncaldo and Tony Carrasco - the legendary Italian/US duo Klein & MBO. The track got support in NYC and Chicago by greats as Larry Levan, Frankie Knuckles and Ron Hardy.

The rare version on the flip is created by a South-African band called Warrior. Rush Hour explain how they came across the track: We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren't imported or exported. Even when a track was huge, like The Klein & MBO Theme'. So South African musicians would create their own versions which were sold locally.

We got in contact with Tony Carrasco from Klein & MBO. He also hadn't heard Warrior's version before, but he liked it as much as we do!'

The old is dying and the new cannot be born; in this interregnum a great
variety of morbid symptoms appear"
-Antonio Gramsci, Prison Notebooks.

Iskandr's latest offering "Spiritus Sylvestris" appears to be a radical
statement in both content and form Signifying a departure from the black metal roots of the project, the psychedelic folk doom of the new album builds upon the directions of where both "Vergezicht" and "Glas" were already moving towards.

"Spiritus Sylvestris" is cinematic in scope: majestic and threatening in its aura of sublime grandeur. The Latin title translates to "spirit of the wild" and also refers to the early modern alchemical name for carbon dioxide - when the spirit of the wilderness is released into the
aether through the burning of wood and charcoal. The songs tell impressionistic stories of natural elements personified; when powerful spirits that linger in the earth are stirred, those elemental forces will be forced to haunt our world.

In an era of irreversible damage to our planet and anthropogenic climate change, Iskandr aims to offer funeral dirges for the world that we have already lost.

"Spiritus Sylvestris" embraces a limitless approach to translate this vision into musical form. Employing musical elements from a broad array of genres; easily moving between the martial stomp of early Laibach and the ethereal melodics of Dead Can Dance.

Recorded and mixed by the legendary Pieter Kloos (The Devil's
Blood, Motorpsycho) at The Void Studio in Eindhoven, the new Iskandr record has broadened the scope and sound of the project beyond any confines, resulting in the most open soundscapes from Iskandr to date. The heavy baritone guitar riffs that form the backbone of the record provide a pitch-black canvas in which huge percussive rhythms and psychedelic layers of Hammond organ, Mellotron as well
as subtle acoustics move in and out of focus. If this world is at an end it deserves a requiem for that what is lost.

*Limited to 150 copies worldwide*

Dave Wallace and Shaun O’Hara created Mad Dog as their first collaboration project back in 1992, later to go on and also form Fugitive – both projects being released in the early 90’s by Bournemouth based Underdog Recordings.

In 2018 Vinyl Fanatiks repressed their first EP and in 2019 Mad Dog 2 was re-released. This 7” is the 7” edits of Mad Dog 2 – a huge release back in the day and more recently for us, selling out in a few months.

This jukebox holed release is one for the collectors and those who like to drop 7” selections in their sets.

King of the mini platters…

"Vor ein paar Jahren, nach einem Konzert in irgendeinem zentral-niederösterreichischem Club, vielleicht Melk, vielleicht Krems, vielleicht Sankt Pölten, kam ein schöner junger Mann zu mir. Er heiße Thomas Gravogl, sagte er und schenkte mir in ansonsten wortkarger Grandezza eine Schallplatte. Das Cover zeigte eine Krähenfeder, "Gravögl" stand drauf, und der Titel: "In da Finstan". Das Ganze war ein schöner Moment. Als ich die Platte anderntags hörte, war ich begeistert, und mehr noch, nach dem zweiten oder dritten Hören dauerhaft ein bisschen zum Besseren verändert. Der Dichter und Sänger Thomas Gravogl und seine Band, die Gravögl, stellte sich heraus, waren vier Zauberer aus dem bergigen Süden Niederösterreich, dort, wo sich Pielach- und Traisental durch sonnabgewandte Hügel immer höher in die waldigen Ostalpen schlängeln, in Richtung der Madonna von Mariazell und des mächtigen Ötschers. Wie diese wilde Gegend ausschaut, so klingen die Gravögl-Songs in ihrer weit zurückgelehnten Virtuosität. Es sind Outlaw(berg)balladen, Lieder, wie sie überall möglich sind, wenn auch überall nur ganz selten, und, yeah, halt auch in den Wäldern hinter Lilienfeld. Seit unserer Begegnung in diesem Club, an den ich mich nicht mehr erinnere, haben Thomas Gravogl und ich immer wieder darüber gesprochen, einmal miteinander "was zu machen". Jetzt veröffentlichen Charlie Bader und ich das zweite Album der Gravögl: Imma is irgendwos. Es ist eine Lieblingsband. Es ist eine Freude."

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.

Die neue VERVE BY REQUEST-LP-Serie präsentiert rare Kultalben, die von den Fans immer wieder gefordert wurden, gepresst in audiophilem 180-Gramm-Vinyl bei Third Man Pressing/Detroit. „Ptah The El Daoud“, Alice Coltranes viertes Album, wurde 1970 im Kellerstudio des Hauses der ColtraneFamilie in Dix Hills aufgenommen und ist ein transzendentes Meisterwerk des spirituellen Jazz. Der Titeltrack ist eine Ode an den ägyptischen Gott Ptah (El Daoud bedeutet „der Geliebte“). Gatefold-Hülle, gepolsterte Innenhülle. „Beat“ wurde für Berry Gordys kurzlebiges Workshop-Jazz-Label im Hitsville-USA-Studio aufgenommen. Schlagzeuger Roy Brooks, zusammen mit seinen Detroit-Landsleuten George Bohanon und Hugh Lawson, sowie seinen Bandkollegen Blue Mitchell, Junior Cook und Eugene Taylor vom Horace Silver Quintet, mischt eine ordentliche Dosis Souljazz in die Hard-Bop-Wurzeln dieses mitreißenden Albums von 1964. Gemastert von den analogen Originalbändern, gepolsterte Innenhülle.

Repress!

Cassius Select returns to Accidental Jnr with another 12' to follow on from last years '90 / HERD' EP. He once again straddles the genres somewhere between techno, bassline and hardcore. ESSENCE is a huge rave cut of broken snare beats and shuffled kicks alongside Select's trademark idiosyncratic vocal snippets. The B-side offers up SHAOLIN SOCCER a post-dubstep wobble at a house tempo followed by HYPE HOUR another piece of broken suedo rave hardcore.

The EP is something of a gift to his brothers for their musical influence on him as the Australian based producer explains in his own words:

Much of my musical upbringing is related to my family, I owe my early influences to my two older brothers. skimming off their mix CDs, sculpting out what 'cool' meant. the eldest is a drummer and in retrospect, i think a lot of the Cassius project is maybe an attempt to impress him again. shaolin soccer is in reference to the 90s blockbuster of the same name, where we derived a lot of our own interpersonal humour. i keep going back to that world we built between the 3 of us. in the simplest way this is a gift to the both of them.'

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

In the 1950s Chicago was the blues capital of the world. But by 1966 musical tastes had changed. R & B had morphed into hard soul and newer soft soul musical stylings had coalesced from earlier doo wop motifs, with bigger and more sophisticated productions. This was the era of the small independent owners / producers, all vying for airplay and sales in a hugely competitive marketplace. This landmark LP showcases many of the best of this output – the sounds that hit music listeners and buyers straight from the street. The mix here is a perfect blend of the tough hard soul style and the softer soul sounds. Just right for the feet and the heart. Enjoy!

Crate Classics release their 2nd vinyl, pressed by Music House Studios. Stars from the Jungle and Dancehall scenes crammed onto this 12. Undoubtedly one of the most exciting figures to arise within drum & bass over the past decade, Rouen Wilkins, also known as Voltage, has carved his way to becoming one of the most valued artists in the scene. He now takes on Rudeboy Sound by Crate Classics and JODIAN NATTY which was a huge hit at 2022's Notting Hill Carnival, with support from Shy FX, 1xtra, 6music, Radio 1, KOOL FM and more. This Rudeboy Sound Remix EP also includes Jungle pioneer 'Potential Bad Boy's' mix of the tune Babylon fro

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

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.

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years

Leo Zero finally gets some of his much sort after edits onto the black wax, with some classic cut-ups that have all been road tested for max dance-floor detonation.

On this first EP a set of classic soul / disco groovers that have been meticulously remastered and extended for the modern floor.

One for the dancers and romancers, ‘Love Affair’ hits you square in the heart - a big spin at the Faith parties. Next up, a classic mid-tempo Soul weekender cut gets a nice chunky re-version.

The flip kicks off with some new live drums and chunkiness added to a huge underground gem, then we head off into more bulletproof dance-floor disco territory with a souped up version that’s been given maximum wallop to compete with house cuts when played out.

Danny Daze presents a brand new alias for Slacker 85 first solo artist EP - D33 is a long-gestating alter-ego through which the Miami DJ & producer plans to explore a more house-leaning output.

The Operator EP sees the Omnidisc label owner channeling his multi-genre, Miami bass-infused sound into a quartet of stripped-down machine jams tailored for house DJ sets, with the fidgety title track issued in two flavors, the D33 ‘Wet Mix’ and Danny Daze ‘Dry Mix’, while on the B-side the heavy kick and evil bassline of ‘Azuca’ is offset by the hypnotic Jonny From Space collab ‘C’mon’.

“D33 is an alias I’ve had floating around in my head for years. It leans more towards my house music side and allows my head to dig into simpler production of dance music. My D33 production and DJ sets purposely feel a bit more laid back. Now I have the time to give out a crazy amount of hugs in between tracks while DJing… :) ” - Danny Daze aka D33

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.

Brighton folk punk band Levellers are celebrating the 25th anniversary of their timeless platinum-selling, second album Levelling The Land with a three-disc special edition package, which will be released on November 18th through their own label On The Fiddle Recordings.

Following the release, the band will be embarking on a mammoth UK tour including a performance at London's Brixton Academy for the 15th time in their career. They will be playing the classic album in full as well as other hits from their 28-year career and will be supported by Ferocious Dog and Gaz Brookfield.

The Levelling The Land special edition will be available as a 2CD & 1DVD set featuring the original album, plus a live version recorded at Brixton Academy and a DVD of that performance. There will also be a limited edition 2LP coloured vinyl set featuring the original album plus the live version.

Levelling The Land was originally released in 1991 and features the hit singles 'One Way', '15 Years' and 'Far From Home' plus 'The Game', 'Liberty Song', 'Another Man's Cause', 'Riverflow', 'Boatman' and the incendiary 'Battle Of The Beanfield'.

During that summer, Levelling The Land redefined the UK's musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80's pre-grunge musical wasteland. Emerging victorious through the ups and downs of label deals, spats with the music press and the wear and tear of touring, the Levellers are still going strong after nearly 30 years in the game.

Formed of Mark Chadwick, Jeremy Cunningham, Charlie Heather, Jon Sevink, Simon Friend and Matt Savage, The Levellers run their own label and their own studio as well as their own festival, 'Beautiful Days'. Cherished and maligned in equal measure, they are one of Britain's finest musical exports as witnessed by the huge North American and Australian tours that precede this release and their victorious UK shows.

Die neueste Ausgabe der hochgelobten Reggae-Anthologie-Serie von VP konzentriert sich auf den Produzenten Hugh 'Redman' James - A Reggae Revolution powered by Steely & Clevie und Roots Radics bei Channel One und Tuff Gong. Ein Killersong nach dem anderen von Gregory Isaacs, Conroy Smith, Carl Meeks, Sugar Minott, Frankie Paul, Admiral Tibet etc.
Inkl. Innenhülle mit ausführlichen Liner Notes und seltenen, noch nie gesehenen Fotos.