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After a well received and enjoyed first joint on this freshly founded co-founded music label joining Kalakuta Soul Records with the neighboring Bahlo Records Store, Kalakuta Soul Bahlo Records is more than happy to re-issue a Disco gem that has been enjoyed in several occasions in the past years but seldom was easy to find.
On a working trip to Italy the salesmen Mohmed Fersi, Lotfi Ferjani, Smir Almia, Mohsen Matri and Nejib Toukabri used their stopover in Italy for a recording session guided by the owner of Phono Sound Dischi Francesco Ammaturo and that resulted in the release of „Dance“ and „Can’t You See Me“ in 1980.
Almost 40 years later, KABA’s half Guy Dermosessian got invited by the mighty Najib Ben Belgacem for a memorable party he organized together with Tunis’ mighty „Downtown Vibes“ Family at Wax Bar followed by a live stream for downtown based and freshly found record label „Eddisco“. Why we’re telling you that? Well, odds are it
turned out that one of Downtown Vibes’ Baba and Eddisco’s Mama was the amazing selector and DJ Hamdi Toukabri, nephew of Nejib Toukabri, Corniche Band’s Keyboard maestro. And the rest is history as you can imagine.
We are more than pleased to have had the chance to re-issue this amazing record we hereby would like to dedicate to the shortly deceased Mohmed „Momo“ Fersi and his family. May his soul rest in peace. We would also like to thank Hamdi Toukabri and Nejib Toukabri for making this happen and possible as well as our brother Najib
Ben Belgacem for bringing us all together in the first place.
Corniche Band comes in its original Cover design and with the same tracklist.
Stay tuned for an exclusive and lovely Edit of „Dance“ by Downtown Vibes’ super amore Hamdi Ryder hitting the digital shelves upon release of this record.

It is a privilege to present to you, our esteemed Daptone Family, a selection of fan-favorites by thee legendary Sharon Jones and her Dap-Kings available for thevery first time on 45!
Over the years Daptone H.Q. has been flooded with suggestions and requests for certain album tracks to be available on 45, so we've gone ahead and pressed up a few that are consistently at the top of the heap.

First up we have "Keep On Looking", a track that debuted on SJDK's breakout album 100 Days, 100 Nights,which subsequently became a staple in the groups live set. The incessant backbeat and tight horn arrangement, coupled with Miss Jones' powerful plea to a lost lover provides unadulterated dance-floor fuego!

On the flip is a new discovery of sorts. While digging through the tape archive we stumbled across a box labeled "Natural Born Lover- Instrumental with Strings". Much to our delight what we found is precisely that: an unreleased instrumental version of the SJDK classic, featuring a string arrangement that was cut from its initial release. And as if the nasty drum break at the top wasn't enough to make this a shoe-in addition to Dj boxes and playlists alike, the gorgeous quirky string arrangement places this one soundly into "must have" territory.

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

After their two acclaimed edits EPs, Mister T. Records are now joining forces with LA based producer DJ Duckcomb, to deliver a groovy selection of leftfield italo-disco cuts reworked for dancefloors. One year after the release of their 2nd EP, a tribute to Brazilian music, Mister T. records are now back with a 12” EP showcasing their love for obscure disco and Duckcomb’s amazing digging skills. This record aims to be a tribute to the very special sound of the late 80s electronic music and to both the artist’s and label’s lifelong passion for obscure italo disco.
Famous as a record collector, Duckcomb has also made himself a name by editing forgotten jewels from classic disco to islands reggae. Part of both duos Sharegroove and Trap.Avoid, he’s been
sharing his work and latest discoveries on his bandcamp and soundcloud for years and he has already released two EPs on Universal Cave and Pleasure of Love as well as edits on Cultures of
Soul and Emotional Rescue.
He’s now joining Mister T. Records with a 3-track EP compilation of hard to classify, slow-tempo, disco edits. On the A-side, Duckcomb partnered up with his longtime friend and DJ partner Dino
Soccio, boss of California label Pleasure of Love, for a powerful rework of the German protohouse tune “Holidays”, with a new dancefloor oriented beat and emphasized tropical influences.
On the B-side, he showed his editing skills working on two obscure downtempo tracks with that recognizable late 80s melancholic atmosphere. By removing not danceable parts, building DJfriendly grooves and removing unnecessary vocal parts, he managed to come up with a smooth italo ballad with acid accents on “S.O.S.” and a beautiful balearic new-beat jam on “King (of) a Beat”.

This record began as a mystery D.O.S. 12” release in September asking questions was it new, was it old, was it a bootleg? Who are D.O.S?? Soon the limited edition 12” pressing release serviced to a handful of DJs and tastemakers was commanding £100 online. The record is a re-make of a Carmen Amez disco/boogie record from 1983 which itself trades for over £200 on a questionable quality pressing that demanded such a great dance record should be freshly re-recorded with strings, horns, bells, whistles and Vanessa Haynes on vocals. The song was originally a Paul Anka composition/recording, but is now out again here by Diplomats Of Soul in collaboration with Incognito’s Bluey with an outstanding cast of UK musicians. D.O.S. and Bluey previously worked together on renditions of “Sweet Power Your Embrace” and “Brighter Tomorrow”. Puzzle solved and record now available.

Beats on Boat vol. 1 is a double LP with 6 nationalities, 8 artists & 16 Tracks pressed on 180g vinyl and limited to 400 copies w/ FloFilz, Made in M, Melodiesinfonie, Juan RIOS, Hazy Year, Lunchbag (aka Theo Spazzatura), illiterate (aka Les Geddit) & iamalex.

The compilation accompanies the YouTube series which can be watched on our website: ear-sight com

All the artists involved have one track on each vinyl, celebrating their musical diversity. The first vinyl will be the sound you know and love of theirs. The second- will be the world premiere for the majority of the Musicians featured- taking a step out of their comfort zone into house, disco or their individual interpretations of those genres.

We set sail last summer to unite some of the best producers we know and came back with hours of dope sets and a 16 track double vinyl containing a lot of firsts - not only for us but also for most artists aboard- the C & D side are full of world premieres!

This vinyl is the blueprint of what’s to come here at ear-sight in the next couple of years, staying true to our lo-fi roots but also reaching out to new horizons and we feel so blessed to have taken this first step with these talented cats.

Cameroonian Joe Bisso's earliest musical influences didn't come primarily from his homeland, but more from the neighbouring Congo, where the kind of early 60's Congolese Rumba played by the likes of Franco / TP Ok Jazz, and Tabu Ley Rochereau was establishing itself as a musical force in the region.

Alongside this exuberant, swinging, jazz influenced sound, the growing impact of the all conquering US soul titans became inescapable, and sprinkled with a bit of Johnny Halliday & Co's smooth chanson over the top, we get a snapshot of where Jo Bisso and friends post school musical experimentation was headed in the late 60's.

As that decade drew to a close, the single minded Bisso headed off to France to begin his quest for the future, and by 1972 could afford the journey to the US that he'd long dreamed of.

Enrollment at the Berkeley School of Music in Boston soon lead to a new band coming together, and by 1974 the all conquering, multi faceted approach that marks Bisso's musical career, meant he'd written, produced and sung on his debut single for the mighty Decca Records. 'Flying To The Land Of Soul' drew heavily from James Brown's propulsive dancefloor funk, whilst wearing it's African colours loud and proud via 'African Express' chants, and drums front and centre.

At the same time, Bisso and friends had started to immerse themselves in the fast emerging disco sound pulsing outwards from Downtown NYC into the Boston nightclubs, and by the time his debut album 'Dance To It' was released on France's influential Le Disques Esperance in 1976, it was the driving, 4/4 floor power of disco that was to define Bisso's sound on that, and the following two albums.

Whilst Bisso's immersion in Disco was based around it's energy and musicality (rather than any associated hedonism), 'African Disco Experimentals (1974 to 1978)' paints a picture of an artist dedicated to the underground club side of the scene, rather than focused exclusively on the fast emerging pop potential of the sound at the time.

The album's tone is set by 3.20 mins of building, tribal percussion and rolling rhythms of the opener 'Love Beat', a 'strictly dancefloor' approach mirrored in the near 11 mins of 'Love Somebody', building from soulful keys to deep bass funk, extended percussion breaks, joyous squelchy Moog licks, breathy vocals and more (interesting footnote : Bisso is credited as Producer / Writer / Arranger, but 'Recorded by' is attributed to Joe Chiccarelli, better known in recent years for his work with The White Stripes, Shins, and Broken Social Scene.)

Still clocking in at a healthy 6 mins plus, "The Mystery With Me" (1978) makes a nod towards more radio friendly waters with it's hooky, floaty choruses and tight structures (a then 22 year old Arthur Baker is credited as sole writer on Discogs - Bisso himself doesn't seemed convinced by this idea, but that's another story...)

'Let's Keep it Together' (1977) loops the song title over a slower groove, with free form electric guitar licks adding new textures, whilst 'Disco Madonna' (1976) showcases Bisso at his most playful, combining spoken word Hispanic vocals, rattling percussion and more of the always welcome Moog, switching up keys at the end for an unselfconsciously camp finale.

And if anything sums up the ambition of Bisso's work in the field at the time, 'Play Me' (1978) can lay claim to being the magnum opus. It's presented here as a continuous 16 minute extravaganza (as opposed to the 4 parts it came in originally) : lush strings, hypnotic vocal sections, irresistible basslines, crisp drums, the odd Barry White style interjection, disco moans, the occasional nod to a chorus vocal. None of it seeming in much of a hurry to go anywhere in particular, choosing instead to joyfully revel in the expansiveness of the form.

Rising Welsh producer // DJ Harrison BDP has been making some serious noise as of late, with a string of stand out releases on Phonica, Berg Audio & Lost Palms. This time making his debut on Shall Not Fade with some of his most weighty productions to date. ‘Sound Expansion Meditation’ takes the listener on a voyage of discovery with spacey synths, dusty drum sequences and floating bass riffs.

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

The seventh (!) volume of high class reworks from rising star Young Pulse is here and it's a banger !.
With a mixed bag of jazz-funk, early 80's boogie and high energy disco there is something for everyone here.
But we really wanna give the A side track 'Bobo's Reason'(Willie Bobo) an extra mention...proper full on summer jazz-funk with a slight disco edge. Feel good material.

Complete with more gorgeous artwork from our favourite graphic designer, Animisiewasz, DP number 28 pops up offering four dance floor ready edits from one of our favourite young producers.

London based producer, multi-instrumentalist and artist Hoffy brings us five explosive disco/house monsters tailor made for when the clubs re-open and everyone goes ever so slightly nuts. With a couple of ridiculously uplifting releases on Forgot Records and a remix or two for Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep love of classic (but never cheesy) disco, and an ability to create surges of energy even on the most docile of dance floors.

We hope you enjoy this craftily concocted quintet of soulful stunners that could easily sit alongside O'Flynn, early Romare and Dave Lee on your shelves. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

One of the most expensive records in the world. The only available copy on Discogs is a mere £4,000!

This was Willie Tee returning to his '60s anthem "Teasing You" but updating it with a beautiful 1972 New Orleans production turning it into a Modern Soul anthem. It's a work of sublime genius and the fully remastered 7" reissue will have replica artwork of the original Gatur label. You have just been spoilt, again.

The second volume brings sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway and Herbie Hancock’s Head Hunters will have listeners throwing their pew cushions into the air.

Full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

Beyonce's sixth album Lemonade (when life serves you lemons, make lemonade) is an album that follows a clear story, the discovery of your partner cheating, the anger which is followed by her leaving him, reconciling, and ending with the beginning of a fresh start together. The music has a very Southern Blues feel to it overall (harking back to Beyonce's childhood and the roots of her parents), but also has a couple of the Beyonce-standard piano lead slower numbers, and a few feisty hip-hop leaning grooves that are a bit similar to the BEYONCE era tracks. Telling such a painful and personal story through the songs gives Beyonce's vocals amazing depth and power, from her vulnerability in Pray You Catch Me, the anger in Don't Hurt Yourself, defiance in Sorry, the sadness behind Sandcastles, acceptance in Freedom, to the hope tinged delivery of All Night - Lemonade delivers it all.

The hour-long film is composed of the music videos for every song strung together to form the visual story of the potential destruction of a relationship, the journey of emotions and self-discovery the wronged party goes through, and finding forgiveness. Beyonce did the 'visual' concept for the deluxe edition of B'Day and for BEYONCE, but Lemonade is heads and shoulders above them - the videos here aren't about Beyonce looking pretty, rather adding to the emotive tale of the songs.

- 12 TRACKS
- HEAVYWEIGHT VINYL
- FULL COLOR LABELS + PICTURE SLEEVE

MD Records, a small independent label started in 2018, are pleased to present the debut single from “Lost in Rio” on the new MD Gold series imprint.
Their debut single which will be out in August, ‘Little Piece of Heaven’ is a festival summer feel good slice of Latin pop featuring energetic musicianship and the vocals talents of Highland based Miss T.It is also something the guys are, rightly, very proud of.
The vinyl release of this single is presented as a double A side as both sides are phenomenal, with the remix bringing a NYC disco mix, designed purely for dancefloors with thumping bass, chic style guitars and soaring strings, think Studio 54 and the heady crossover soul of Philly meeting the early disco of New York.
Early plays by several funk and soul radio stations (Totally Wired Radio and FACE radio) has attracted interest from DJs keen to feedback with so many positive vibes and offers to collaborate on future songs.
Who Are Lost In Rio:
The band herald from the Highlands of Scotland. Inverness provides the base for a collection of musicians that have made their home here, whether they originated from Manchester, Melbourne, Malaysia or indeed the Highlands! The band has taken the funk and soul sound from their former incarnation, The Leonard Jones Potential (LJP) who were BBC6 Craig Charles Funk & Soul Show favourites with whom they undertook several live interviews on the show with Craig and also a popular live session as well as a number of joint live dates at Kendal Calling Festival, Inverness and Aberdeen. The guys were also asked to undertake some prestigious live work with world renowned DJ Carl Cox, on the bill at his personal request and alongside other acts such as Brand New Heavies, Danny Rampling, Gilles Peterson and of course, Carl himself.
The songwriting team behind all this - Anthony, Andy, Neil and Ruairi quickly set up Lost in Rio upon the demise of The LJP and began collaborating with a number of singers and a rapper (MC Butterscotch). They developed their sound into a smaller, tighter, groove based soul vibe.
From 2017 the grouped honed their sound with a number of live appearances across the Highlands including festivals and supporting acts such as Smoove and Turrell. Utilising guitars, bass, drums, Hammond and percussion, the guys set about leaning on key influences - Acid Jazz Corduroy and Brand New Heavies, dynamite disco guys Chic, Northern Soul, rare soul and a whole plethora of funky hip hop acts - The Allergies, The Herbaliser and Tribe called Quest to write a lot of new tunes. Latin influence comes to the fore in much of the groups new sound, particularly highlighting the impressive skills of Aussie percussionist Andy Pearce.
Live, the band have a good reputation and have been much sought after by promoters. Audiences have loved the tight rhythmic groove that these guys produce, meaning gigs are full of dancing and long encores. Recently the guys have been concentrating on driving up the already high standard of songwriting and production. This hard working band has plenty of material they are eager to share with those ears who are partial to quality funk, soul and pop and are looking for the right partners to work with and spread the message. Future releases will seek to exploit the wordsmith alacrity of MC Butterscotch who as well as Lost in Rio, also features as part of Scottish award winning hip hop act, Spring Break.
MD Records specialise in Unreleased soul and funk on its Yellow Series, contemporary soul and funk artists on the Gold Series, re-issue soul and funk on the Black Series and Missouri Soul and Blues via its Blue Lotus UK imprint.

In the album's music we find vintage influences, recalling the faded charm of 70s erotica, warm tones also rooted in psychedelia, disco, yéyé, and French chanson. The Montreal trio Le Couleur, created by Laurence Giroux-Do (vocals), Patrick Gosselin (bass), and Steeven Chouinard (drums), delivers rich and irresistibly danceable performances. Le Couleur polished their sound until it shined as bright as the late Studio 54's spotlights with EPs Voyage Love (2013) and Dolce Désir (2015), and then P.O.P. (2016), their critically acclaimed debut album. Thanks to precious advice from Giorgio Moroder, with whom the band had the opportunity of sharing the stage, Le Couleur recorded their new album adopting a completely different approach. Concorde takes its name from the legendary Franco-British airplane from 1965, nicknamed the "beautiful white bird" for its sleek and modern design. This avant-garde project that ended in tragedy has always held a certain fascination for Laurence Giroux-Do ; a deadly "crash" that inspired in her a sense of macabre sensuality. In the album's music we find vintage influences, recalling the faded charm of 70s erotica, warm tones also rooted in psychedelia, disco, yéyé, and French chanson.

Sam Gendel’s Nonesuch Records debut, Satin Doll, was recorded in Gendel’s native California, and is a futuristic homage to historical jazz. The album features three musicians — Gendel on saxophone, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion — engaging in simultaneous synchronized sonic construction/deconstruction of jazz standards, including Miles Davis’ ‘Freddie Freeloader’, Charles Mingus’ ‘Goodbye Pork Pie Hat’, and Duke Ellington’s ‘Satin Doll’.

Sam Gendel is a musician and producer living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes significant collaborations with a wide range of artists including Ry Cooder, Blake Mills, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world. Gendel’s previous discography includes the critically praised Music for Saxofone & Bass Guitar with bassist Sam Wilkes and 4444.

JAM CITY (Chicago, USA) & IZIPHO SOUL RECORDS (Surrey, UK) collaborate to bring you one of the finest discoveries of the year, tracked down and first played on Starpoint Radio’s Soul Sermon Show. Blown away on first listen, we knew what we had to do and quickly got to work with producer and writer Al Wordlaw. Back in the late 80s, the singer simply known as ‘RUSHING’ was a local sensation, performing to sold out crowds whenever he was booked for Chicagoland performances; no surprise when you hear these incredible vocals!

Both songs were recorded in 1987, but never released. Thankfully the original reels were kept and have been restored, transferred and mastered for a vinyl release thirty three years later!

In demand 7 inch sees a limited edition in translucent yellow vinyl.

Regarding the album: "This has not been off the decks since I first got it and have been hammering it to death on the show. One of the ESSENTIAL albums of 2011. Perfect in every sense and totally irresistable" Craig Charles (BBC 6Music) Two cover versions taken from the essential album GITANO REAL. I Believe in Miracles is an overwhelming take on the Jackson Sisters classic in a rumba funk fashion. Party stomper!! And on the other side, a longer trip departing from McFadden and Whitehead's seminal Ain't Non Stoping Us Now and touching the revered latin disco version of Charanga 76, only to end up as a fabulous clap-driven rumba stormer. Two very necessary sun-soaked tunes for any self-respecting dj on neat black vinyl. And yes, it's a limited edition!

After months in the making we would finally like to welcome Kiko Navarro into the Rocksteady Disco family with E-MA GIN (b/w Sex & Love Affair). Kiko is a man who really needs no introduction, so we're pretty excited to be bringing you two of his biggest previously unreleased dance floor bombs on a shiny sheet of black plastic.

The A-side holds "E-MA GIN", an uplifting jazz-fusion tinged afro-house joint with live drums and Kiko's notorious dancefloor drive and pulse. On the flip is "Sex & Love Affair", a peak hour disco/house bomb with even some hints of Moroder nestled in there. Both tracks have been tearing up dance floors until the pandemic hit, and they've been delighting chat rooms for our radio shows. It's the life-affirming and sensual music you've come to expect from Rocksteady Disco, now from our hermano Kiko Navarro.

GAMM150 is here and it's a big one.

Rahaan is back on GAMM and this time with his buddy DJ Emanuel with some nasty (!) post punk/funk disco.
The A-side runs down a timeless Garage classic...but with a gritty twist.
The B-side is just sex, orgy and disco crammed together on black plastic. Imma Phreak is just...phreaky! 


Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.

Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.

“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”

It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”

“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”
Eröffnet wird "Videosphere", das Debütalbum von Kompakts jüngstem Signing, dem in London ansässigen Künstler Lake Turner (alias Andrew Halford), mit "The Sunbird" - einem herausfordernden Strom aus Ambient Sounds, die zu schweben scheinen, um sich dann in einen subtilen, maschinellen Rhythmus zu verwandeln. In gerade mal 109 Sekunden gelingt es dem Stück, ein gewaltiges Terrain abzuschreiten - etwas Mythopoetisches, bescheiden und grandios zugleich, gibt uns eine Ahnung davon, was sich hinter dem Himmel verbirgt. "Ich wollte etwas heraufbeschwören, das einer alten Zeremonie oder Totenprozession ähnelt", sagt Turner, "wie eine Hymne an die Umgebung eines weit entfernten Hügels." Himmlisch und irdisch zugleich, eine rituelle Beschwörung von Sphärenmusik.

Der Kompakt Label-Familie wurde Turner von dessen zeitweiligen Mitarbeiter Yannis Philippakis (Foals) vorgestellt. Zuvor hatte er in den Post Punk- und Indie-Bands Great Eskimo Hoax und Trophy Wife gespielt. Bis auf eine limitierte lathe-cut 12", der "Prime Mover EP" auf Algebra von 2018, artikuliert Turner mit "Videosphere" zum ersten Mal seine eigene Vision von elektronischer Musik.

Die üppigen Ambient-Disco-Techno-Träume von "Videosphere" hat Turner in seinem Londoner Studio und auf der Schaffarm seiner Eltern in Worcestershire produziert, was den nebulösen, gemächlichen und beinahe pastoralen Charakter des Albums erklären könnte.

"Es gab einen bittersüßen Moment als ich mit der Platte (in Worcestershire) fertig geworden war, da meine Eltern gerade dabei waren, das Haus meiner Kindheit zu verkaufen", seufzt er, bevor er witzelt, "das Positive war, dass ich im Laufe des Sommers eine Menge Schafe geschoren habe". Als Student der Archäologie und der Geschichte des Altertums ist Turner zweifellos mit den sich unaufhörlich drehenden Rädern der Geschichte und der daran geknüpften Erinnerungen vertraut, und es ist keine Überraschung, dass "Videosphere" einen nostalgischen, melancholischen Einschlag hat; viel von seiner Schönheit liegt in der Art und Weise, wie es einem sanft ans Herz geht - die Tränen benetzten Wangen von "Honeycomb" oder der ambivalente Elektro-Reigen von "No Way Back Forever".

Trotz allem hypnotischen Driften und Träumen - Videosphere ist sehr stark im Jetzt verankert. "`No Way Back Forever`ist eine Anspielung auf die lineare Natur der Zeit", erklärt Turner beispielhaft, "und auf den Wendepunkt der globalen Klimakrise, den Wissenschaftler gerade ausgerufen haben". Jayne Powells Gesang wirbelt dabei wie Zuckerwatte durch den Song und steht auch im Mittelpunkt des technoid hymnischen Titelstücks. Überall ist ein Gefühl der Vorwärtsbewegung zu spüren, trotz der Stagnation, in der wir uns Mitte 2020 kollektiv befinden; trotzdem existiert eine Sehnsucht nach dem Gemeinsamen, nach Gemeinschaft, die im Albumtitel eingefangen ist - eine Referenz an ein Objekt, dem Turner im Londoner Geoffrey-Museum begegnete, "ein Fernsehgerät in Form eines Raumfahrerhelms aus den 1970er Jahren".

„Die lose Vision, die ich hatte, bestand darin, eine elektronische Platte zu machen, die eine soziale Wärme und eine fast zeremonielle oder rituelle Atmosphäre ausstrahlt. Ich wollte die Beziehung unseres archaischen Geistes in den Fallstricken der modernen Welt untersuchen", so Turner abschließend. "Was `Videosphere` für mich auch symbolisiert, ist die Einheit von Menschlichkeit und Gemeinschaft, die am Ende obsiegt".

To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.

Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.

Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.

A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.

A vital voice in the modern discourse on depression, body positivity, and the LGBTQ community, her trailblazing influence has arguably never been more apparent and some of the key writers of the moment have teamed up to work with her. Alongside Rae Morris and Fryars, who co-penned the first single WHO I AM, co-writers include Jonny Lattimer (Ellie Goulding, James Bay, Rag ‘n’ Bone Man), Future Cut (Little Mix, Shakira, Lily Allen), Tom Neville (Dua Lipa, Kesha, Calvin Harris) and Shura. Among the tracks she releases here are the slinky, tropical-tinged Overload, a warning to a people getting on your nerves, and Escape, a broken beats-driven track about escaping everyday life. The summery Self Love owes a debt to Donna Summer, while Melanie’s love of Billie Eilish influenced the moody, intimate Nowhere to Run. Melanie and Billie’s admiration for one another was plain to see at this year’s BRIT Awards, where Melanie presented Billie with the Best International Female Solo Artist award after a long embrace. Who I Am and second single Blame It On Me have both set up the self-titled album and despite releasing during a global lockdown, she has performed to great acclaim on TV and online across the world on flagship shows such as The One Show in the UK, no less than 4 million plus German TV shows and James Corden’s Late Late show in the US where her performance is now the benchmark. With growing streaming support and A list radio support on both tracks in the UK, Australia, Latin America, SE Asia and Germany so far, it’s a global new chapter for Girl Power.

The Games new album - Born 2 Rap - gets a limited 3LP unoffical Record Store Day release!
• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE***
• The Game, two-time GRAMMY® Award nominated multiplatinum Compton rapper, songwriter, producer,
actor, and entrepreneur. He locked down a place in the pantheon alongside greats of both coasts by a
combination of bar-for-bar bravado, provocative observation, hard-hitting hooks, and sharp introspection.
And now the prolific rapper returns with his 9th album fittingly titled, Born 2 Rap. Collaborated on the
album with artists such as Ed Sheeran, Miguel, Anderson .Paak, Nipsey Hussle, 21 Savage, Bryson Tiller,
Chris Brown, Trey Songz, and many more.
• The Game’s prior album 1992 debuted #1 on Billboard’s “Top Rap Albums Chart” and tied Drake for most
#1 album debuts since the chart began in 2004. Also, the album gave The Game his eighth #1 on
Billboard’s “Top R&B/Hip-Hop Albums Chart” tying him for third with 2Pac and Lil Wayne. He started this
impressive legacy with double platinum 2005 full-length debut, The Documentary. It not only bowed at #1
on the Billboard Top 200 and garnered GRAMMY® nods in the categories of “Best Rap Song” and “Best
Rap Performance By a Duo or Group,” but it also emerged as a classic avowed by Pitchfork among the
“Top 50 Albums of 2005”. The 2006 followup Doctor’s Advocate retained his spot at #1 on the Billboard
Top 200 and went platinum. Maintaining positions in the Top 10, he ignited a prolific string of blockbuster
releases—L.A.X. 2008, The R.E.D. Album 2011, Jesus Piece 2012, Blood Moon: Year of the Wolf
2014, The Documentary 2 2015, The Documentary 2.5. [2015], and 1992 [2016].
• “Born 2 Rap” has over 75 million streams worldwide and peaked at #2 on Billboard charts

A Berlin based collective of music aficionados launch a limited and lovely 7" platform for club-ready flipped classics.

Simple, effective
Floor food for all moods...TIP !

(25th Anniversary Edition) Originally released on F Communications 1997. Laurent Collat is not a newcomer to the French electronic scene. It was in 1988, with the discovery of New Order, that the desire to compose his own songs arose. His techno-pop compositions drift gently towards a house and techno sound, with the arrival of the baggy movement from Manchester and the acid-house wave.

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

New soul / boogie discovery out Daytona Beach, Florida. Unknown until this year when a sold for the first time on ebay in June for ($2025), Not surprising as its absolutely banging on both sides. Big love to Brian Sears who hooked up With Michael Gamble on this.

The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful.

Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems.

A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style.

Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits.

Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles.

Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.

Soul Development AKA Deka Selector is a DJ and music producer from Barcelona. He started playing vinyl and performing as a DJ in Ibiza from 2002 at Warhol Club, Diosa Discotheque and Tira Pallá Bar, and also played twice at international festivals like Sziget Festival in Budapest.

Nowadays he is focused in music production, composing his own music with rhythm machines and synthesizers. His first release was in 2016 called "Poker Hat", and "Roots" in 2017. Now, under the label Sounds Of Mass Distraction (SOMD) Soul Development is about to release his first vinyl EP in September 2020, "Treballa Dorm Consumeix".

"Treballa dorm consumeix" is the new artwork of "soul development" who, at this time, edits as an EP on vinyl format as also on the current streaming nets. The title disc mentions and actually criticizes, the consume urban society where the majority population in the world live.

The author, Javier Ortega Cejas, pretends to generate consciousness about our fail system where we walk: every day, we awake and go to our job posts to spend a huge part of our daily time to generate incomes to later on, spend and spend in objects, sometimes, not really needed. If so, eat, we need to eat, sometimes we get satisfaction just purchasing and purchasing objects totally superfluous. Do not lie to ourselves, to buy, generates satisfaction, but maybe, at a high cost: our health, physical and mental.

As Dalai Lama said with his own words, that, resumed would be: "occidental man spends its health to get money, later on, spends its money to get again health, and lives the present thinking so much on the future that finally, lives like it wouldn't never die, and dies as it wouldn't never have lived".

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement.  He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

And there is much to celebrate with this resurrection.

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

Continuing to make 2020 their own Tropical Disco are back with four tracks of joyous dancefloor fervour in the shape of Volume 19 of their well loved vinyl series.

The EP see’s a welcome return for the outrageously talented and regular contributor to the label Phased Groove. He is appearing alongside a debut for the equally revered Ziggy Phunk and a welcome return of Vagabundo Club Social on a release which is completed by a dynamite collaboration between Kikko Esse & Emanuele Del Carmine.

This is an EP punctuated by the jazzy flourishes that we have come to love from Tropical Disco which sit perfectly alongside a prodigious selection of disco edged funk.

Phazed Groove’s ‘In Motion’ is the perfect opener for this ever so stylish collection. Its dashing groove packs in everything from subtle guitar licks and disco flutes to gentle keys and an ever so sensual breathless female vocal which has likely beamed in directly from the 70’s. It’s a track which belies its laidback notions and is deceptively energetic. Expect this one to be played everywhere from Miami pool soirees to Mediterranean boat parties in the coming months.

Danish artist Ziggy Phunk has seen his star rise rapidly over the last couple of years on the back of a series of sublime releases. His track here ‘Vibes of Nola’ is as captivating as anything that he has produced to date. Built around some incredible keys its funk infused bassline gives it some genuine dancefloor guile.

Over on the flip Kikko Esse & Emanuele Del Carmine’s ‘Funky Tranky’ brings to mind some of Masters at Works jazzier moments as Nuyorikan Soul. Built round some wonderful live bass guitar playing its layers of sumptuous guitar and brass are a joy.

Closing the EP is an essential Latin-edged dance-floor gem in the shape of ‘Calabao’ from Colombia’s irrepressible Vagabundo Club Social. Acidic bass notes and filtered vocals add the grit here. It’s a track which you can expect to be ubiquitous on in the know dancefloors across the tail end of 2020.

Yet again Topical Disco raises the bar ever higher for contemporary disco.

Support across Mi Soul & House FM.

“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy
Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents Hedgehog Sandwich - lovingly mastered on 180g heavyweight Hedgehog Splatter vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open
Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage. Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick,
Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes

“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents all three original LPs - Not The Nine O’Clock News, Hedgehog Sandwich and the double LP The Memory Kinda Lingers - lovingly mastered on heavyweight themed coloured vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open
Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage. Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick,
Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes.

“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents The memory Kinda Lingers - lovingly mastered on 2 x 180g heavyweight Hedgehog Splatter vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage.
Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick, Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. "I guess in one sentence, this album is my expression of love and appreciation for electricity," says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a "visual language" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, "as a reference for how frequencies can be visualized," much like a mosaic. Smith describes her first encounters with this mosaic; "the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself." As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. "The Steady Heart" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. "Carrying Gravity" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called "Expanding Electricity." Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.