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Engelbert Humperdinck, der legendäre Schlagersänger, der für seine samtige Stimme und zeitlosen Balladen
bekannt ist, zieht mit der Wiederveröffentlichung von zwei seiner kultigsten Alben, ”A Man Without Love”
und ”Please Release Me”, zum ersten Mal auf farbigem Vinyl das Publikum weltweit in seinen Bann. Diese
Alben haben Humperdincks Status als einer der beliebtesten Entertainer aller Zeiten mit über 140 Millionen
verkauften Alben im Laufe seiner glanzvollen Karriere gefestigt.

Prolific Danish drummer Emil de Waal has come to be known for his unique and personal contributions to a wide variety of musical projects in jazz, pop, rock, and electronica, including Kalaha, Baghdad Dagblad, Maluba Orchestra, and his own quartet to name a few. Well versed in the art of collaboration, his new record is his first solo undertaking, combining his jazz musicianship with his affinity for the offoff-kilter and electronically manipulated. Comprised of seven original compositions, as well as creative reinterpretations of pieces by Charlie Haden, Duke Ellington, and Hans Henrik Ley/Jannik Hastrup, the record is a collection of intimate, interactive duo performances decorated with sounds and textures from the electronic world. The record s title translates to four eyes ", a double double-entendre alluding to the album s duo approach, under four eyes so to speak, as well as to the fact that de Waal wears glasses. Making a conscious effort to collaborate with more female instrumentalists as well as musicians de Waal hadn t played with before, Fire Ojne " features a wide spectrum of organic instrumental timbres on the prepared piano, clarinet, saxo-phone, pedal steel guitar, and bass flute. From sung melodies and winding improvisations to spacious, experimental textural approaches, each piece sees de Waal engage in a private conversation with a musician he s admired. From the bluesy New Orleans feel of Ellingtons Limbo Jazz "", to the glitchy, menacing, avant avant-garde groove of Halvfirs Fems "", to the spacious, twinkling, ethereal Diskurs "", the album showcases the staggering breadth of the drummer"s influences and ideas. Programmed drum beats, vast reverbs, foley recordings of flowing water, and ricocheting delays craft an expansive, surprising and inventive context for improvised music in the 21st Century.

With just two guitars and a drum set, Hound Dog Taylor and the Houserockers created a rocked-out, hypnotic, ultra-danceable sound that is as emotionally powerful and wildly energizing today as it was the day they produced it. This GRAMMY-nominated album was released shortly after Hound Dog's death and features the Houserockers' magic captured "live" in club performances, full of raw energy and high spirits. Over 90,000 sold worldwide. "Natural for partying, drinking and talking loud"--ROLLING STONE

Spätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

LIMITED INDIES LOSER EDITION PRESSED ON BLUE TRANSPARENT VINYL! Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful." While not exclusively a confessional artist, Stella is always intimate - when she sings, it's personal. She writes "about things I feel passion for. Stories about me, about others, about all that's there in love and war." Stella was "in a very emotional state at the time, which came through in the lyrics and vocals." And it's true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it's the lyrics that feel key. Across her output, Stella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record's erotic arc. By the end of the album, Up and Away's core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can't always understand or control. Love is like this record: when it's over, you still feel it for time to come.

"La Misma Fuente" is an album that could have only come from the mind of Yemanjo, and the music here reveals producer/musician Ben Harris in the full bloom of his artistic promise.

Translating as "The Same Source", the staggering variety of genre, sound design and featured artists here all relate to the concept that the world's diversity manifests out of an essential unity.

With guest singers and musicians from Mali, Colombia, Argentina, Hungary and beyond, "La Misma Fuente" pulsates with an irresistible combination of cracking electronic beats, hypnotic synths and bass, traditional acoustic instruments and vocals in many languages.

In the title track, Yemanjo's own harmonized Spanish vocals roil over a relentless dembow groove; elsewhere Malian vocalist Mariam Koné shines in both the mid-tempo house track "Juru Fô" and the Reggae-meets-Desert Blues anthem "Janfa". The instrumentals are no less captivating; "Bululú" is a combustible club banger with shades of kuduro, afrohouse and zouk rhythms, "Suena La Quena" is a bouyant uptempo house track with soaring Andean flute melodies, "Baobab" mesmerizes with interlocking ngoni licks, and "Bridge to Bamako" is a spacious trip-hop groove that finishes the record like a breath of fresh air.

Thematically diverse, melodically complex and rhythmically compelling, "La Misma Fuente" is a testament to the relentless wanderlust of its author, and a fine addition to the already legendary catalogue of Wonderwheel Recordings.



Ben Harris: sound design, arrangement, vocals, charango, trumpet, digital percussion

Mariam Koné: vocals on #2, #6

Fredy Velasquez: vocals on #5

Alex Nero: guitar, charango on #7, charango, quena, zampoña on #9

Onanya: ngoni on #2

Cosmic Nomad: ngoni on #4

Julia Gyulai: lead vocals on #8, back vocals on #5

Endre Molnar: guitar on #8, back vocals on #5



Mixed and mastered by Chris Cox at Veritas Mastering

Additional record engineering by Akos Varnai

Reflection is also-ran late-'60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King's "You'll Never Know," in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn't put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band's competition in the genre. The expressive qualities of Kieran White's voice, though, are limited, as though he's being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; "Down the Highway" sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, "Windmill" and "Autumn Song," which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late '60s, again with prominent flute. ~ Richie Unterberger

"Sun Racket" is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos.

When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. "It sounded beautiful jumping around like that". Two-minute songs reappearing as twisted instrumentals or another song's bridge.

They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, "sit here and deal". "All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box.

Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more" - Kristin Hersh And so, they continue. Business unusual.

"A ground-breaking band who changed the face of alternative music rather than follow the rule book." MXDWN "Pioneers of the 80'/early 90's college rock sound" Pitchfork "One of America's finest guitar bands" - The Quietus.

Being back in the prairies after decades away opened up boxes of tightly wrapped insanity, delicate stuff, and bizarre things. The joy and sorrow of the place drives me into the Blues studio to make more art for you. It's made with big heart from way out West, to keep you alive and virile.”

Welcome back. Where's the party at? Son Of Dave's 11th album kicks off with homecoming outbursts. After 26 years in London UK he's back in the Canadian Prairies demanding as much attention as always. Themes of flat Midwest cities, classic-rock lovin' truckers, and a weird call for More Mayonnaise will keep his multitude of international fans chuckling. The usual Son Of Dave bag of tricks colours the album: Blues-harmonica, beat-box, cheap electric guitar, and that voice that shouts and croons his own brand of Blues infused old-school R&B.

As always, he messes with different rhythms: Funk, Boogaloo, Rock-Steady, or Techno, always doing it his own way. How do you categorize a Son of Dave album? He's become his own style, loved and shared by millions of fans worldwide. That's why you'll find his music in the Breaking Bad soundtrack and many more. You'll hear it on college radio or boomer generation blues radio programs from Switzerland to Argentina. A true maverick Bluesman.

Most of the record is done completely himself. All writing, instruments, editing, recording, mixing and artwork. You're welcome. Three exceptions are “Where's The Party At” , produced by long-time collaborator Tim Gordine in London, and two recorded on Vancouver Island by Zac Cohen at lovely Woodshop Studios, “Yahoos” and “I Told You All I Know”. The album will be released on July 12th. Four singles will lead up. Plenty of videos and fun coming. Shows and tours forthcoming.

“On ‘The Nashville Sessions’ as throughout Van Zandt’s entire catalogue, the more wretched he sounds, the better - and on the best parts of ‘The Nashville Sessions’ he almost makes melancholy sound a condition to be envied.” Uncut In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’ In 2014, Townes Van Zandt’s original manager and producer Kevin Eggers gave Charly Records’ Rob Caiger and engineer Pete Reynolds the only surviving tapes to restore and remaster to present a stunning document of the folk-blues master at his absolute peak, originally released on vinyl for the first time in 2015. “You did a first-class with the record. The packaging looks sensational and the records sound great. That was what matter most to me over the years. I know Townes would be very pleased. The simple truth is the only things that matter to him was his songs and his music. All the rest was bullshit and he could have cared less. We began as dear friends and that’s how it ended just before his death. When it came to the music he gave all he had to give.” Kevin Eggers - 26 March 2015

The late, great guitarist Tony Rice grew up in a bluegrass family and learned to play at the feet of Kentucky Colonel and Byrd Clarence White. In the mid-‘70s, he joined J.D. Crowe’s seminal newgrass group The New South, thus launching one of the most celebrated careers in modern bluegrass, folk, and acoustic string band music. Along the way, Rice collaborated with David Grisman, Jerry Garcia, Bela Fleck, Alison Krauss, Chris Hillman, Doyle Lawson, Norman Blake…the list goes on. This record, 1988’s Native American, is one of his most beloved, a beautiful blend of bluegrass, jazz, and folk featuring soaring interpretations of some of his favorite songwriters, like Gordon Lightfoot (“Shadows”), Joni Mitchell (“Urge for Going”), Phil Ochs (“Changes”), and Ian Tyson (“Summer Wages”). And on the more contemporary side, Mary Chapin Carpenter sings on the record and contributes a song (“John Wilkes Booth”) about the Lincoln assassination, long an obsession of Rice. That’s the great Vassar Clements on fiddle and Jerry Douglas on dobro, too…first-ever vinyl reissue, pressed in “root beer” vinyl and limited to 750 copies!

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Als Altsaxofonist Sonny Stitt Anfang der 1940er seine Karriere begann, wurde er von manchen Kritikern zu Unrecht als Charlie-Parker-Klon abgestempelt. Dass er tatsächlich ein ganz eigenes Profil besaß,
bewies er schon bald mit Aufnahmen, auf denen er als Tenor- oder sogar Baritonsaxofonist zu hören war.
Für “Blows The Blues” griff er 1959 aber wieder ausschließlich zum Altsaxofon. Der Titel des Albums
ist dabei Programm: mit seinem exzellenten und bestens eingespielten Quartett präsentiert Stitt hier acht
großartige Nummern (sechs davon aus eigener Feder) in unterschiedlichen Blues-Schattierungen.

pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

Far East Suite is a 1967 concept album by American jazz musician Duke Ellington, inspired by his group's tour through Asia. Ellington and longtime collaborator Billy Strayhorn wrote the compositions. Strayhorn died in May 1967, making Far East Suite one of the last albums recorded during his life to feature his compositions. The album won the Grammy Award in 1968 for Best Instrumental Jazz Performance – Large Group or Soloist with Large Group. The Penguin Guide to Jazz gives the album a four-star rating, noting that ""Ellington's ability to communicate points of contact and conflict between cultures, assimilating the blues to Eastern modes in tracks like ""Blue Pepper (Far East of the Blues)"", never sounds unduly self-conscious. This remains a postwar peak."" Allmusic calls this one of Ellington's ""more memorable recordings,"" describing it as an example of ""Ellington and Strayhorn in their late prime,"" and as such, ""quite essential."" Far East Suite is available on coloured vinyl for the first time as limited edition of 1500 individually numbered copies on orange coloured vinyl.

After performing together in the skiffle-oriented band Good Earth, singer-songwriter Ray Dorset and keyboardist Colin Earl formed Mungo Jerry, whose breakthrough single, “In The Summertime,” remains a stone-cold anthem of the early 1970s. With Paul King on banjo and jug, Mike Cole on string bass, Earl on ragtime piano and with Dorset’s humorous vocals upfront, “In The Summertime” was skiffle-tinged rock at its best. The reissue of this uncommon 12-inch also features Dorset’s “Mighty Man,” with King’s kazoo and harp, as well as a great cover of Woodie Guthrie’s “Dust Pneumonia Blues.” A must-have!

A lost solo piano record from the Night Tripper! Originally put to tape in ‘82 & ‘83 for the Clean Cuts label, these tracks have remained unheard until now.

Two numbers feature the doc's raspy growl while his solo piano navigates us through the rest of the train ride, past touches of blues, jazz, and foot stompin’ boogie-woogie jive. It's the kind of magic that can only come from a dusty tape box.

In 1981, Dr. John began recording his first of two solo piano albums. The “new” performances featured on this release are of the same quality as the music on Dr. John Plays Mac Rebennack and The Brightest Smile In Town.

His left hand creates a three-note rhythmic pattern that forms the foundation for the performance while his right soulfully plays the melody and then builds off of it in the tradition of the New Orleans piano blues masters. In other songs, it begins as a nostalgic and heartfelt ballad, picking up steam during the performance and switching moods several times before returning to where it began.

While it is a real shame that he would never again record a full album of unaccompanied solos (Dr. John enjoyed leading a band too much), the release of Frankie & Johnny gives one an additional opportunity to discover just how brilliant and spirited a pianist Mac Rebennack was during his colorful career.

North Sea Jazz Concert Series - 1981 / 1982 / 1988 by Dizzy Gillespie, released 12 July 2024, includes the following tracks: "Con Alma ", "Jessica's Day " and more.

This version of North Sea Jazz Concert Series - 1981 / 1982 / 1988 comes as a 1xLP.

The vinyl is pressed as a white disc.

The album “Capuchin Swing” by Jackie McLean, released in 1960, is a seminal work in hard bop jazz. Recorded with renowned musicians such as Blue Mitchell on trumpet, Walter Bishop Jr. on piano, Paul Chambers on bass, and Art Taylor on drums, the album stands out for its intensity and inventiveness. Tracks like “Francisco” and “Capuchin Swing” showcase McLean’s exceptional talent for blending technique and emotion, making this album a must-have for jazz enthusiasts.

Repress!

Vocal powerhouse Izo FitzRoy exploded on to the scene in 2017 with her debut LP 'Skyline', the album incorporating a stunning fusion of styles spanning gospel, funk and soul as Izo's raw bluesy tone and direct lyricism took centre stage.

Her new album 'How The Mighty Fall' builds further on the soul foundations of her debut. Recorded between Paris, London and Sheffield, it sees her collaborating with three stellar producers and a host of talented musicians.

Disco royalty – Dimitri From Paris (Glitterbox, BBE) directs fellow Parisians Cotonete on her smash single 'I Want Magic'. Studio wizard Shawn Lee (BBE, Ubiquity) brings the funky AOR vibes on 'Slim Pickings' and the Mercury Prize nominated - Colin Elliott (Richard Hawley, Jarvis Cocker, Paul Weller) who produced the bulk of the album, completes the trio. Guesting on the record are the UK's most in demand brass section – The Haggis Horns and Izo's long-time collaborators - Soul Sanctuary Gospel Choir.

Conceived during the aftermath of the breakdown of her long-term relationship, Izo looked to this personal experience for inspiration for the album as well as casting further afield at the wider themes of mental, societal and communication breakdowns.

Despite the strong material, at one point it seemed the record might never materialise. Just as the world was getting on board with her debut LP and international touring was taking off, Izo lost the use of her voice and required surgery on her vocal chords in the second part of 2018. A long schedule of vocal rehabilitation was necessary to get back to a position where she could first talk, then sing regularly enough to get back to work.

Thankfully after this difficult personal period for her, the silver lining from the experience was that post-recovery she gained a whole new octave at the top of her vocal range! This in turn has influenced her song writing on the album & allowed her to enhance her compositions with more vocal light and shade from this unexpected gift.

Ironman is the debut solo album by Wu-Tang Clan rapper Ghostface Killah, released in 1996. Produced by Wu-Tang Clan mastermind RZA, the album’s music and lyrics draw prominently on Blaxploitation films and soul samples. Many music critics have praised the album for Ghostface Killah’s imaginative lyricism and RZA’s production style, with some revering it as one of the greatest Wu-Tang solo albums of all time. The album contains Ghostface Killah’s highly praised unique up-tempo, stream-of-consciousness rhyming style, which he would go on to further utilize on his highly acclaimed second studio album Supreme Clientele. Ironman debuted at number two on the Billboard 200 and Top R&B/Hip-Hop Albums, and is certified platinum.

Although a solo album, Ironman features many Wu-Tang collaborations, with furthermore Raekwon and Cappadonna. In addition, the album features the hit “All That I Got Is You” featuring Mary J. Blige.

To celebrate the 25th anniversary of one of the greatest hip hop debuts of the 90’s, Ironman is available as a limited anniversary edition of 4000 individually numbered copies on translucent blue (LP1) and translucent red (LP2) coloured vinyl.

2024 Repress


Straight out of the depths of East London, Hoxton Square to be precise. A location before gentrification, the area around Old Street in 1995 was full of young artists, musicians and record labels. Law & Auder were one of those bands, with a studio in the next road to the legendary Blue Note club. This is where these two tracks were created, two cuts that encapsulate the raw sound of the London jungle scene at this time.

This particular 12” is a bit of a cult release, with prices on Discogs for an original copy at a VG+ rating going for a £150 a copy, that’s if you can ever find one.
This is the second release from the group that we have repressed ON Vinyl Fanatiks, with Martin from the group also being a part of Utomica, another group that we repressed a few years ago.

Straight from the East London vaults.

Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".

Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.

Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.

Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.

Sound Like: Paradise Lost, Type O Negative

Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".

Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.

Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.

Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.

Sound Like: Paradise Lost, Type O Negative

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

Die Multi-Platin-Rockband MR. BIG veröffentlicht ihr zehntes Studioalbum mit dem treffenden Titel "Ten"! Inmitten ihrer letzten Tournee - THE BIG FINISH - wollten sich MR. BIG, inspiriert von den unzähligen Fans, die im vergangenen Jahr ihren Abschied mit ihnen teilten, mit einem brandneuen Studioalbum verabschieden. Nach mehr als drei Jahrzehnten musikalischer Partnerschaft zünden Martin,
Gilbert und Sheehan mit Hilfe des Newcomers Nick D'Virgilio noch einmal den Funken und nehmen mit dem kommenden "Ten" eine neue Form an.

Das gesamte Album wurde sowohl live im Studio als auch im Tourbus aufgenommen. Die erste Single und das dazugehörige Video aus "Ten", "Good Luck Trying", ist ein lauter, rauer 70er-Jahre-Blues-"Rock"-Song, der Einflüsse von MR. BIGs frühesten musikalischen Inspirationen, gefolgt von dem aus der Feder von Paul Gilbert stammenden Up On You" - ein geradliniger Stomp-Rocker!

Monk’s Blues is an album by Thelonious Monk, accompanied by a big band arranged and conducted by Oliver Nelson. Produced by Teo Macero, the album was recorded in Los Angeles by Monk‘s working quartet augmented by a group of top Hollywood studio musicians. The Monk Quartet included Monk on the piano, Charlie Rouse on Tenor Saxophone, Larry Gales on Bass and Ben Riley on the Drums. Additional musicians a.o. Tom Scott, Buddy Collette, Bobby Bryant and Conte Candoli. Monk’s Blues is available as a limited edition of # copies on translucent blue coloured vinyl.