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"Strike The Balance" (1989) ist ein großartiges Dub Syndicate-Set mit Vocalfeatures von Bim Sherman auf dem Lloyd & Devons-Cover "Cuss Cuss" und Shara Nelson (die kurz danach mit Massive Attacks "Blue Lines" einer weltweiten Öffentlichkeit bekannt wurde) auf einer Version von Serge Gainsbourgs "Je T'aime". Die LP erschien 1989 zeitgleich mit den Anfängen von Dub Syndicate als Tourband. Sie ist erstmals seit über 25 Jahren auf Vinyl erhältlich, neu geschnitten von Frank Merritt bei The Carvery, und enthält rare Fotos von Coneyl Jay und neue Linernotes von Rob Harris (Test Pressing).

The very first (and long overdue) career-spanning retrospective from Soul music legend P.P. Arnold • A 57 song 3CD set, or 25 song 2LP set featuring singles, album tracks, demos, and previously unreleased songs • A stylishly packaged collection with new sleeve notes by author Jude Rogers • A companion piece to P.P. Arnold's critically acclaimed autobiography Soul Survivor The term "well-established" might be appropriate for some artists but it barely begins to cover the career of the phenomenal P.P. Arnold, whose records and performances are now in their seventh decade.

Her consistently excellent music covers multiple genres, her high-profile admirers and collaborators are plentiful, and yet 'Soul Survivor - A Life In Song' is the first collection dedicated to this extraordinary body of work. Compiled by the artist, 'Soul Survivor - A Life In Song' is being released on a 57 song 3CD set, and 25 song 2LP set, both formats housed in an eye-catching sleeve created by photographer (and close friend) Gered Mankowitz, with extensive new sleeve notes by author Jude Rogers.

Alongside key singles and album tracks it includes previously unreleased recordings, demo versions, live performances, and some rare mixes that are being reissued for the very first time. From her early days at Andrew Loog Oldham's Immediate label (where she "became one of us", according to Andrew) her allies, associates, and working partners have included the Small Faces, Cat Stevens, Mick Jagger, Barry Gibb, Eric Clapton, Andrew Lloyd Webber, The Blockheads' Chaz Jankel, Roger Waters, Ocean Colour Scene, The Blow Monkeys' Dr. Robert, and Paul Weller. In 2022 P.P. Arnold told her extraordinary life story in her critically acclaimed autobiography Soul Survivor (Mojo magazine called it "a jaw-dropping memoir"); now that book has the soundtrack that it deserves.

Vinyl Only / Heavyweight Vinyl / Original Glued Prints tip-on by hand on Thick Cardboard 700 gram / 2 Separated parts handily gluing / PVC Outer Sleeve / Insert sheet Q&A with Lloyd Miller by Tony Higgins / Handcrafted silk-screen "Lloyd Miller 1938/2024" on Vintage paper with 100% natural "Persian Blue" color.

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller - Dulcimer Santur, Oud, Shamisen, Dhol, Tabla
Marilyn Miller - Flute
Tú Trinh Dàm - Voice
Dusdi Siwi Jarn - Voice

Notes:
Made with the intention of exploring and experiencing the various musical and cultural perspectives of a territory as vast as that of Persia, "Near And Far East" is a significant historical document that transcends the restrictive concept of territory but rather inhabits a space of absolute time. The album's content is not just window into faraway places, but a leap into the times and cultures that have now been swallowed up by the incessant movement of globalization and capitalism. Listening to it is turning your ear into the true musical culture of countries whose rapid change has eliminated the cultural peculiarities at their roots. Inspired by his long journeys in Iran, Lloyd Miller takes us on a journey through the instruments and sounds of a time, giving us his interpretations of a musical world that was - and that now remains - an historical document for future explorers who are curious about the mysterious musical arts of the middle and far east. Certainly a holy grail for samplers and loopers who can find exotic panoramas here! (Tony Higgins)

Comes with an insert with exclusive pictures and condensed interview about the serie with Lloyd Miller made in March 2022 printed on 300 gram Favini "Remake" paper, plus exclusive goodies!

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller- Drum (Zarb), Lute (Oud), Lute (Kamanche), Lute (Sehtar)
Marilyn Miller -lute
Jan Otterstrom - Guitar
Stan Wood - Percussion
Anna Claire Eastmond - Vocals

Notes:
The second and last chapter of Dr Miller's journey between cultures and its uses, which began with "The Far East", dissected and looked into the root of the sound of distant Asia, continues with this new chapter dedicated instead to the countries bathed by the Mediterranean and contiguous to Central European history. From Spain to Arabic sounds, a new compendium that takes us back to other places and times, Dr Miller is once again able to dissect and encapsulate sounds and spices from distant places and spaces in a time machine. Thanks to these historical documents, we have the opportunity to discover feelings that are impossible to find 50 years later, sucked up and watered down by globalization and social capitalism.

Rare Seventies Big City Street Soul

In 1971, film producer David Gil and his business partners Robert S Sinn and Paul Frankenberg launched a film company called GSF. Over the next few years, it would be involved in a small number of productions. But, in 1971 the movie business was kind of old-hat, music was where it was at, and so GSF Records, a well-funded label, headed by Larry Newton was formed. Today Newton is largely remembered for his attempts to prevent Louis Armstrong from recording 'What A Wonderful World' but that didn’t stop him from growing ABC from a second division company to an industry leader. As he approached his 52nd birthday he was unveiled as GSF Records’ president a full-service music company, involved in records and publishing across all genres. Through a joint venture with drummer Bernard Purdie the label targeted the R&B charts and soul & funk dominated GSF's release schedule.

Black music ruled and this was reinforced by the hiring of Lloyd Price as head of A&R (veteran R&B star), and producers George Kerr (All-Platinum), Mickey Stevenson (Motown) and Jerry 'Swamp Dogg’ Williams. No wonder then, unintentional as it was, that GSF left behind such an extraordinary legacy of rare soul treasures.

NEW YORK’S BEST KEPT SOUL SECRET Features legendary Northern Soul classics courtesy of Anderson Brothers, Skull Snaps and Connie Laverne Produced by hit makers George Kerr and Motown veteran Mickey Stevenson Starring the Whatnauts and Eddie “Hey There Lonely Girl” Holman

Das vierte Studioalbum unter seinem eigenen Namen, „Punchlines“, ist Johnny Lloyds erstes Soloalbum seit „La La La“ (2021) und folgt auf eine
produktive Zeit des Songwritings für TV und Film (wo er den RTS Best Original Music Award für „I Hate Suzie“ gewann) sowie auf ein neues Album und
eine Tour mit seiner Band Tribes. Produziert von dem Musiker und Produzenten Max Clilverd (Tom Odell, Holly Humberstone), zeigt das zehn Titel
umfassende Album Lloyds umfangreiches Songwriting-Talent, das sich mit Themen wie Liebe, Verlust und Loslassen beschäftigt.

Indian born, UK artist Michael Diamond, co-founder of Vasuki Sound label and club night, announces new EP Placid Wakefulness, featuring single ‘Reverse Entropy’. available on all platforms 5th December via Vasuki Sound.

A uniquely multifaceted talent, Michael Diamond’s unforgettable ‘jazzed electronic’ sound is informed by a spectrum of influences, not least by intersection of the scientific and practical worlds of electronic music. From the music scholarship he won to read Medicine at Oxford where he quickly discovered new ways in which the two worlds can co-exist, his days were spent immersed in academic studies of music perception and cognition, while his nights were spent alongside the likes of Ben UFO, Batu & Ross From Friends, playing at one of UK’s most long-established nights ‘Simple’. A chance encounter there also led him to connect with musical collaborator Alex Wilson – the BBC Young Jazz Musician of the Year semi-finalist and then musical director of Oxford’s Jazz Orchestra – who appears frequently across Diamond’s compositions and on Placid Wakefulness.

No stranger to a concept piece, Diamond’s previous project, the highly personal and critically acclaimed exploration of culture and identity, Third Culture (album of the month/year acknowledgments from Stamp The Wax, Juno and Phonica Records, also earning him a DJ Mag ‘One To Watch’, a Youth Music Awards ‘Rising Star’ nomination and a Gilles Peterson’s ‘Future Bubbler’ accolade) explored the experience of being a ‘third culture kid’ born in Kerala, India and growing up in the UK with a sense of fractured identity.

On Placid Wakefulness, Diamond honours his academic research working alongside world-renowned musicologist Professor Eric Clarke. Specifically how music may affect our sleepfulness and wakefulness, how instinctively we are soothed by some sounds and energised by others - ‘what it is about dance music that makes people go hard all night long?’ and ‘what is it about ambient music that makes people feel the opposite way - to lull them into this sense of calmness or rest?’, mindful of the unconscious ways his findings were already manifesting in his work as an artist. And while his research provides a framework for some of the ideas within the piece, Placid Wakefulness can be viewed as more of an unintentional byproduct, or case-in-point of his findings, rather than a piece consciously constructed in their image.

Across Placid Wakefulness’s four tracks we find the artist unpacking a range of sonic ideas on this theme, from ambient calm to club-adjacent rhythms. The EP opens with hypnotic lullaby of ‘A Way of Listening’ complete with transcendent flutes provided by Alex Wilson, cello by George Lloyd-Own and a mellow groove. On the more energised ‘Reverse Entropy’, rhythmic ambiguity moves to rhythmic disambiguation with a four-to-the-floor beat as the track progresses, releasing tension and inviting an urge to dance as a jazz sax moment transmutes into glorious techno percussiveness.

On ‘Turning and Turning’ the bpm shifts down a gear, a sonic dreamstate where tough textural rhythms create a kind of liminal state tension. Closing out the EP we return to a sense of restfulness with the EP’s title track, where a gorgeous picked guitar loop interplays with vibrating ambient pads and a slow and steady beat. The Placid Wakefulness EP is a captivating testament to Diamond’s singular artistic talent and the fascinating interplay of neuroscience and how we experience and enjoy music.

In den späten 1960er Jahren erlebte Kanadas größte Stadt einen musikalischen Aufschwung, als karibische Einwanderer Toronto zu ihrer neuen Heimat machten. Die besten Ska-, Rocksteady- und Reggae-Aufnahmekünstler jener Zeit - die Gründer von Studio One, Treasure Isle und Trojan Records - taten einfach das, was ihnen in den Sinn kam. Einer nach dem anderen gingen sie ins Studio und nahmen einige der härtesten Songs diesseits von Kingston auf. Gemeinsam überwanden sie die rassischen und kulturellen Barrieren und bildeten eine beispiellose und wenig bekannte kanadische Soul & Reggae-Community. "Jamaika to Toronto: Soul, Funk & Reggae 1967-1974" beschreibt diese entscheidende klangliche Migration im Detail. // Mit Jackie Mittoo, Johnnie Osbourne, Wayne McGhie, Lloyd Delpratt, The Mighty Pope, Jo-Jo Bennett, Eddie Spencer, Noel Ellis und mehr_ // 2024 erweiterte Ausgabe mit 20-seitigem Deluxe-Booklet mit Archivbildern, Künstlerbiografien und Essays // 2xLP-Set, läuft mit 45 rpm, in einem luxuriösen Klappcover // Zusammengestellt, und kommentiert von dem GRAMMY-nominierten Produzenten, DJ und Journalisten Kevin Howes (alias Sipreano, Voluntary In Nature) in Zusammenarbeit mit Light in the Attic // Yellow & Green ReVinyl, eine nachhaltige Alternative aus 100% recycelten Materialien //

Music lovers will be familiar with his love of Caribbean pearls from the compilations "Ritmo Caliente" and "Message from the Islands" as well as other releases such as "Los Yoyi", "Mighty Shadow" and "Wild Fire". Now Tom Sky, the former creative head of Black Pearl Records, is pulling another tropical discovery out of his travel treasure box on his new record label Sound Essence.
Lloyd and the Joys is truly a real holy grail and one of the most sought-after funky hotel records from the Caribbean islands. Deep, groovy synth Soul with the song "That Look Of You" meets jazzy funk breaks with the strong tune "The New York Business". There are also two stylish 70s postcards from Lloyd himself in a vintage design in each sleeve. The release is a must for all tropical music connoisseurs.

Das im November 2000 erschienene dritte Studioalbum von Ivy, Long Distance, wird von vielen als ihr Durchbruch angesehen. Es ist stark von Trip Hop und New Wave beeinflusst, behält aber die Mischung aus Indie-Pop und Rock bei, für die sie bekannt geworden waren. Long Distance enthält einige der bekanntesten Songs von Ivy wie ,Worry About You", ,Undertow" und ihren unverkennbaren Hit ,Edge of the Ocean". Diese 25-Jahres-Jubiläumsausgabe enthält das unveröffentlichte Outtake ,All I Ever Wanted", produziert von Lloyd Cole im Jahr 1996 während der Aufnahmen zu ihrem Album Apartment Life. Als weitere Bonus Tracks sind außerdem ein Remix und das Original-Demo von ,Edge of the Ocean" enthalten.

Sly Dunbar and Robbie Shakespeare or Sly and Robbie as they are affectionately known are the drum and bass backbone of Reggae Music, they have played on, produced, invented, reinvented more records then many of their contemporaries put together.

Sly Dunbar born Lowell Charles Dunbar on 10 May 1952, Kingston, Jamaica, drummed his first session for Mr Lee Perry which included a Jamaican hit ,a track called 'Night Doctor', before moving on to the group Skin, Flesh & Bones who had a residency at Kingston's famous 'Tit for Tat' club. This band would evolve into the Channel One house band The Revolutionaries where Sly named after his fondness of the band Sly and the Family Stone would begin to play alongside a bass player who would become his long standing partner in music, namely one Robbie Shakespeare.

Robbie Shakespeare born 27 September 1953, Kingston, Jamaica, had worked his way through session bands including the legendary Aggrovators before uniting with Sly Dunbar in The Revolutionaries. Both musicians had worked with other respective bass / drum players including such figures as Lloyd Parks bass, Carlton 'Santa' Davis drums, but everything seemed to fall into place when they worked together.

They also both had a quest to push the boundaries of reggae music, which they would do throughout their careers, over many sessions to numerous to mention. But highlights would include the groundbreaking Mighty Diamonds 1976 set 'Right Time' with its fresh rockers rhythms which lead the way in the 1970's. Also their work with the bands Culture and Black Uhuru the later of which they toured extensively with, spreading the reggae vibes across Europe and America. Not to forget to mention their Taxi label / productions which are always inventitive whether its in the reggae field or outside where their playing / production skills are much in demand.

The third piece of this jigsaw is the mighty Mr Bunny 'Striker' Lee who brought these legends together. Born Edward O'Sullivan Lee 23 August 1941, he must be one of reggae's most underrated producers. Leading the way in the 1970's especially in the dub field and being one of the early exponents of a King Tubby remix ,which would see nearly all his 7'' releases carrying a Tubby reworking on its flip side. Bunny started his musical career in 1962 working for Duke Reid's Treasure Isle label and soon moved into the world of production gaining his first hit in 1967 with 'Musical Field' by Roy Shirley for the WIRL label. The 1970's was a very productive time for Bunny Lee and saw the launch of his LEE'S label which was producing hits in Jamaica. Not having a studio of his own and renting studio time from the existing establishments like Randy's Studio 17 and Channel One he had to have a crack team of session players to carry out this task, fast and efficiently. This happened firstly under the guise of THE AGGROVATORS see The Aggrovators dubbing it studio 1 style JRCD005 and then with the group of musicians THE REVOLUTIONARIES[ see The Revolutionaries at Channel 1 dub plate specials JRCDOO3]. It’s here in the latter of these groups that Bunny matched Sly and Robbie together for the first time and it’s this match made in heaven that these tracks on this release are culled from. Sessions that Bunny Lee produced with Sly and Robbie during this magical 70's period. These rare dubs are taken from the original master tapes, you may have heard the tune before but not these versions. So sit back and enjoy Reggae Musical History in the making....

Frequent collaborators V Don & Ransom team up yet again to bring you their new album Chaos Is My Ladder 2 - this time tapping in with Griselda’s Conway The Machine. Ransom and Conway each bring their A-game, lacing each of the 10 tracks with their signature bars and flawless lyricism. V Don sets the scene with his gritty production that will leave you nodding your head to each beat. Lloyd Banks rounds out the new drop as the sole feature and does not disappoint. This album is already being heralded as an Album of the Year contender, and after one listen you will know why

The original pressings are already hard to find, being extremely rare! Plus, to collect them all, you'd need the cost of a car for this parade of super pricey premium editions! If you want to enjoy the ultimate rare grooves, this is your only option!

These soul and funk performances, buried in the midst of the late 70s US record industry, which could be considered the destiny of the TAX SCAM label, are a must-listen! Enjoy killer tunes with grooves and feelings that are just as good as the hits of the time!

Let’s Get It On is the 7th album of reggae pioneer Ken Boothe . The album is produced by Lloyd Charmers and is originally released by Trojan Records in 1974.

The record includes the well-known Syl Johnson cover of “Is it Because I’m Black”, plus Marvin Gaye’s “Let’s Get it On’”.

Let’s Get It On is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

Vier Jahrzehnte Alphaville! Als eine der wenigen deutschen Bands hat es die von Marian Gold, Bernhard Lloyd und Frank Mertens gegründete Pop-Formation geschafft, sich mit Hits wie „Big in Japan“, „Forever Young“ oder "Sounds like a Melody" einen festen Platz in der internationalen Musikszene zu erobern und Generationen von Fans zu begeistern. Und das bis heute: Im Herbst erscheint die erste karriereübergreifende Werkschau der Band: „ALPHAVILLE FOREVER! - BEST OF 40 YEARS“ wird ab dem 27. September 2024 auf CD und Vinyl erhältlich sein - auf den Tag genau 40 Jahre nach der Veröffentlichung des Debütalbums „Forever Young“.

Die 3-CD-Version (Digipack) enthält 40 Tracks und ein 20-seitiges Booklet, die gekürzte LP-Version (180g) eine bedruckte Innenhülle mit Credits und vielen Fotos sowie in der limitierten Erstauflage ein exklusives Poster. Das Besondere: die Fans von Alphaville stimmten im Vorfeld weltweit über die Tracklist der 3CD ab. Über ein spezielles Voting-Tool konnten sie ihre 40 Alphaville-Lieblingssongs auswählen, in die gewünschte Reihenfolge bringen und als Playlist abspeichern.

Die umjubelelten, schrill-bunten Rockerinnen von The Hot Damn! sind mit einem Paukenschlag zurück und veröffentlichen ihre elektrisierende neue Single Can You Hear Me Now? zusammen mit der Ankündigung ihres mit Spannung erwarteten Debütalbums Dancing on the Milky Way, das am Freitag, den 27. September 2024, über Fat Earth Records erscheinen wird. Die vierköpfige britische Rockband wird als das ,farbenfrohe Chaos" des Rock bezeichnet und bringt mit jedem Song, jedem Video und einer energischen Live-Show nach der anderen wieder Farbe in die Musikszene. Mit knackigen Riffs und wilden Harmonien bringen The Hot Damn! dich zum Tanzen, bevor du es merkst. Die vier temperamentvollen Damen, die unter anderem von Kerrang!, Planet Rock und BBC Radio 2, BBC Radio 6 und Radio BOB gelobt wurden, sind keine Unbekannten in der Musikszene. entstand die Band u.a. aus der Asche von The Amorettes und Tequila Mockingbyrd und besteht aus den Talenten von Gill Montgomery (The Amorettes), Josie O'Toole (Tequila Mockingbyrd), Laurie Buchanan (Aaron Buchanan and the Cult Classics) und Lzi Hayes (New Device/Sophie Lloyd Band).The Hot Damn! aus Marlow, Buckinghamshire, mögen es laut, aber sie machen nicht nur mit ihrer Musik auf sich aufmerksam, sondern auch auf ein Thema, das ihnen am Herzen liegt - den Gehörschutz. Da die Band erkannt hat, wie wichtig die Gesundheit des Gehörs sowohl für das Publikum als auch für die Musiker ist, hat sie sich dazu verpflichtet, bei all ihren Konzerten Einweg-Ohrstöpsel anzubieten. Neben einzelnen Headline-Gigs reisen The Hot Damn! im November 2024 als Support von D-A-D durch Deutschland um ihr hart rockendes Werk zu präsentieren. CD mit zwei Akustik-Bonustracks, LP als Sunshine Yellow Vinyl!

Limited to 500 copies! No repress! Transparent red vinyl! Hype sticker on front! 1961 schwappten die ersten Tropfen der neuen Surf-Welle in den Äther. Eine Gruppe kalifornischer Teenager namens The Belairs veröffentlichten mit "Mr. Moto" das ersten lupenreine Surf-Instrumental und viele weitere sollten folgen. Es war ein Lebensgefühl, es ging um Freiheit, Rebellion gegen die miefigen 50er, um Party und natürlich um die nächste Welle. All das spielte sich vorzugsweise im sonnigen Kalifornien ab. Der erste Hit des Genres war "Misirlou" von Dick Dale, das 1962 veröffentlicht wurde. Der Track stellt deutlich die drei Hauptkomponenten des Surf heraus: ein tragendes Gitarren-Thema (eben kein Gesang!), exotische Harmonien und Akkordfolgen sowie ein gehöriges Maß an Wildheit und Lautstärke! Leo Fender entwickelte dann für Dick Dale zwei Innovationen, ohne die die Surf-Musik nicht das geworden wäre, was sie ist: Den Fender Reverb - ein separates Federhall-Gerät - und den Fender-Showman-Verstärker. Dieses Equipment gehört gerade für Puristen auch heute noch zur Grundausstattung eines Surf-Gitarristen, der seinen Job ernst nimmt. Natürlich gab es jede Menge Bands, die nur eine oder zwei 7"-Singles veröffentlichten, die lokal verteilt oder bei Gigs verkauft wurden. Man braucht schon einen Mann mit Spürnase, um die Juwelen rauszupicken und die entsprechenden Preise für das Kleinvinyl zu zahlen. Unser Mann heißt DJ Crille, seinerseits Resident im Komet! Club in Hamburg (nahe Reeperbahn), und anerkannter Surf-Spezialist. Nebenher ist er auch für die Vocal Group Madness! LP und die Born To Hula Doppel-LP in der DJ Set Serie -beide auf Stag-O-Leeverantwortlich. Surfin Burt"s Surfin Safari! - Vol. 2 ist praktisch die perfekte Welle.

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

Black, Gold & Green was the first of three albums Ken Boothe would record together with producer Lloyd Charmers and takes his Memphis-via-Kingston aesthetic to the next level. Some of the best soul singing of his career can be heard here on numbers such as ""Out of Love,"" ""Missing You,"" and the gritty ballad ""Second Chance."" His singing as being in the same kind of soul groove as the late and great Otis Redding. Ken’s tradition, though, is based in the powerful religious messages reflected in the native Jamaican religion. Black, Gold & Green includes some serious social-political material, and these heavy tones permeate every note of this album. It also includes his great cover version of Bill Withers' ""Ain't No Sunshine."" Black, Gold & Green is available as a limited edition of 500 individually numbered copies on orange coloured vinyl.

Soul Jazz Records’ are releasing their classic release ‘Rastafari – The Dreads Enter Babylon 1955-83’ in a new one-off pressing limited edition blue coloured double vinyl edition. The album includes new tracks and is fully remastered from the original edition.

Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Bongo Herman, Earth & Stone and many more, this is an in-depth look at some of the heaviest and righteous music ever made!
Soul Jazz Records' Rastafari: The Dreads Enter Babylon charts the many links between reggae music and Rastafarianism. The album comes complete with full gatefold and bespoke inner sleeves, containing stunning exclusive photography and extensive sleevenotes.

Rastafarianism had its roots at the start of the 20th century and became widespread in Jamaica following the visit of Haile Selassie, the King of Ethiopia, to Kingston in 1966. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, notably spearheaded by the success of Bob Marley and The Wailers.

As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Reggae Charmers is the 1970 album by Lloyd Charmers, born Lloyd Tyrell. His career spans some of the most fertile periods of Jamaica's musical history. From the late-'50s era of Jamaican shuffle R&B and the subsequent ska boom, to the rocksteady and roots reggae of the late '60s and early '70s, Charmers made valuable contributions not only as a vocalist, but as a session musician and producer, as well. Charmers took up the piano in 1966. A few years later, he was an accomplished enough player to form a band of his own with a few friends. The band eventually backed Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques (Charmers would also spend some time singing for the Uniques). Buoyed by their reputation for laying down some of the rawest and driving rhythms of the time. Charmers is joined by Byron Lee and the Dragonaires on this record, that is a must for all true fans of vintage Jamaican sounds. Reggae Charmers is available as a limited edition of 750 individually numbered copies on orange colored vinyl.

Following last year's ground-breaking return with "The Course of The Inevitable", Lloyd Banks is back with more hunger on this 2nd instalment! Featuring guest appearances by Jadakiss, Dave East, Vado, Conway The Machine, Benny The Butcher and Tony Yayo.

In this musical journey, Banks weaves together a compelling storyline, sharing pieces of his own pain and struggles, inviting listeners to connect with his authenticity. With Method Man's signature lyrical prowess, Cormega's poetic finesse, and the raw energy of 38 Spesh, the album boasts a stellar lineup of features that enhance its impact.



Banks' sharp lyricism and introspective storytelling shine throughout the album, exploring themes of resilience, triumph over adversity, and the complexities of life. Each track serves as a piece of his soul, revealing layers of vulnerability and strength. With the collaborative efforts of his fellow artists, "The Course of the Inevitable 3: Pieces of My Pain" delivers an immersive and powerful listening experience, solidifying Lloyd Banks' position as a master in the rap game and the one and only Punch Line King.

Bad Man Possee is a classic early Eighties dub reggae recording by Junior Murvin, who made his name working with Lee ""Scratch"" Perry on his 1976 debut album Police & Thieves. This album features some stirringly hypnotic tracks to go along with the hit title track. ""Guitar"" is an eerie ode to Murvin's first guitar, riding craftily over a headnodding rhythm provided by Dread At The Controls studio musicians the Roots Radics Band. While Murvin changes speeds quite mercurially, from the love lost recollection ""Never Fall in Love"" to the politically charged ""Rebellion,"" the high quality of the music remains even throughout. Murvin's outstanding doo wop-inspired falsetto is a uniquely inspired nod to the R&B tradition as well as the stylings of ska, rocksteady, and dub. Murvin tops the album off with simply astonishing version ""Man Is the Fire."" Bad Man Possee is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

Careening from the Black Sublime of Dadawah to the, er, Foxy Brown of Jennifer Hylton, Dug Out lets off this early~nineties r'n'b~spiced piledriver, recorded by Lloyd Pickout Dennis at Dynamic, with the Firehouse Crew - George programming drums, Danny the bass, and Wrong Move the other keys

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

An extremely rare and in-demand record from the disco-funk group has been unearthed and restored. The Movers enjoyed huge success in the 1970s, releasing album after album of ground-breaking sounds, including fusions of South African marabi jazz, funk, disco and jive. The line up of the band shifted throughout its existence - however this particular album produced by David Thekwane features musicians Jabu Sibumbe, L Rhikoti, Lloyd Lelosa and Sankie Chounyane.

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

Brand new six track EP collaboration from two original man in the business, Lloydie Slim and Cornel Chin of Son's Junior sound system. A-side has the sweet voiced Cassandra Chin doing her rendition of a '60s classic, followed by horns and dub cuts. The B-side has New York's number one sax man Jerry Johnson blowing on another updated classic, followed by version and dub cuts. Brand new productions straight from Brooklyn NY by veterans still at it!

Player below will play samples of all tracks in sequence. click the link below the player to go to soundcloud and play tracks individually.

When I arrived in Geneva, Claude picked me up in his Aston Martin. He had a tape deck playing Lowell Fulsom – a guy who used to come to Memphis a lot and I knew some of his musicians. I grew up around the Blues, so this was a natural sound for me. Claude didn’t tell me until much, much later that he played Blues harmonica. He took us to the hotel where we had a warm and cordial welcome. Montreux was a quaint and sleepy town in 1967. However, there was a palpable excitement in the air and we could feel it. Everyone seemed to know that they were about to launch something great – the Montreux Jazz Festival - and there was no turning back. I was their first international artist to perform there with my quartet with Keith Jarrett, Jack DeJohnette and Ron McClure.

We played two concerts at the Casino one in the afternoon and one at night. That was the start of three great and lasting friendships; Claude Nobs, Montreux Jazz Festival co-founder, Rene Langel, and the engineer of the recording, Pierre Grandjean, from Radio Suisse. And - a fourth person, who was 6 at the time, Yvan Ischer. We did not meet until many years later and have become good friends. It is thanks to Yvan’s persistent belief in this music and Pierre Grandjean’s safe keeping of the tapes, that we hear them now, more than fifty years later. live at Montreux Jazz Festival, June 18, 1967. Featuring Charles Lloyd, Keith Jarrett, Ron McClure, and Jack DeJohnette.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

Long unavailable warehouse find. Double LP for £7.50 Munster Records proudly presents a collection of Patrik Fitzgerald's Small Wonder and Polydor releases. A combination of punk's outrage with a streak of optimism, rare for its time and place, collected for the very first time on a double LP package. Patrik Fitzgerald was one of the oddities that punk rock threw up in 1977. A lone singer with an acoustic guitar regaling punk audiences with lyrical songs and interspersing them with chats, stories and poems. He is the great forgotten songwriter from the Class of '77. Patrik Fitzgerald never became a household name or punk icon like Rotten, Strummer or Weller, but to his loyal followers he is just as important and as inspirational. Same goes for Mark Perry, Vic Godard and Robert Lloyd.

Sophie Lloyd is one of the most prolific guitarists on the world wide web, a trailblazer who is redefining the concept of a "bedroom" guitarist. A talented composer and accomplished musician, Sophie graduated from the prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music Performance, honing and refining a talent she has nurtured since childhood. Since then, she has amassed the kind of following that even the guitar gods she grew up idolizing would be envious of, with a reach surpassing 3 million followers across her social channels, built through a steady stream of sharing her talent via guitar "shredleys", covers and her own original material. In addition to her own content, Sophie's talent and popularity has led to collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation and Harley Davidson, her own Guitar course on Truefire and a stunning performance at Paris Fashion Week for Redemption Brand Clothing. She has also released her own signature guitar, becoming the first female artist to do so for exclusive Californian Guitar maker KIESEL.

Most recently, Sophie could be seen shredding on stage as guitarist for multi-platinum recording artist Machine Gun Kelly on his recent Mainstream Sellout World Tour, which included sold out shows at legendary venues such Madison Square Garden in New York and Wembley Arena in London.

At 27 Years Old, Sophie Lloyd is just getting started, with the upcoming release of her debut solo album. The first few songs have already been released to rapturous reception, including "Fall Of Man (Feat. Matthew K Heafy)", "Do Or Die (Feat. Nathan James)", "Lost (Feat. Cole Rolland)" and "Runaway (Feat. Michael Starr)" with some more exciting names including Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Tyler Connolly (Theory Of A Deadman) and Brandon Saller (Atreyu) all appearing.

Das Chaos ist zurück: Hier kommt das Vinyl zum vierten Teil von Lloyd Banks' Halloween-Havoc-Mixtape-Serie. Auf "Halloween Havoc IV: The 72nd Hr" droppt der Rapper aus Southside Jamaica Queens 15 neue Tracks samt Features von Vado und Sy Ari Da Kid. Die erste "Halloween Havoc" erschien 2008 und wurde 2015/16 mit den Teilen zwei und drei fortgesetzt.

"Sugar Minott was a Jamaican reggae star who was a pioneer of the dancehall style. Minott was a producer, label head, and sound system operator. He collaborated with one of Jamaica’s most accomplished producers, Lloyd James aka King Jammy, and among their collaborations was the popular 1979 LP Bitter Sweet, which included the seminal dancehall anthems “Give The People” and “I’m Not For Sale”. For the first time in over 40 years, Bitter Sweet is being reissued on vinyl. The album is available as a limited edition of 750 individually numbered copies on orange coloured vinyl."

Bitter Sweet by Sugar Minott, released 24 May 2024, includes the following tracks: "Never Too Young", "Right Track ", "Save The Children " and more.
This version of Bitter Sweet comes as a 1xLP.

raid on the values of oriental jazz master and pioneering ethnomusicologist Lloyd Miller.

As we’ve said before on the rare encounters we’ve had with Miller’s work, he’s quite a unique figure within the worlds of jazz, traditional Middle-Eastern folk and musicology. Few in history seem to be so heavily embedded within local music scenes and have been capable of absorbing so much from their surroundings. His original works (almost all self-released) are extremely hard to find and are pretty much out of reach for most.

This double LP ‘Orientations’ is really what we’ve been longing for though. With unrestricted access to Dr Miller’s archives, local Utah label FOUNTAINavm have combed through previously unreleased recordings from the early 60’s to the early 00’s, capturing the breadth and scale of this unique artist. The cultural clash between east and west underpins each piece, where Miller’s astonishing dexterity on at least 15 different non-western instruments is infused with European Jazz standards. Like listening back in time, the fragrant humid air of the old orient hangs heavy in the atmosphere, capturing a time of great change in the area where the osmosis of culture between East and West would really take off, not without its problems. But these are recordings we keep coming back to, like the lilting romance of piano piece ‘Shahin’ recorded in early 70’s Tehran, or the hypnotic South Indian inspired Carnatic Clarinet from 1960’s. Miller’s work exists at an interesting historical intersection where jazz, folk, spiritual and documentary aspects of music all overlap. (Mint / New - heavy 2LP gatefold).

This double LP album is sourced from Lloyd Miller’s personal archives of masters and personal recordings.

Archival, Curation, and Tape Transfers by Adam Michael Terry.

Horace Andy a.k.a.Sleepy must process one of the sweetest and most distinctive voices in reggae music. 1951 in Kingston Jamaica. He cut his first track in 1966 for producer George ‘Phil’ Pratt, a tune called ‘Black Man’s Country’. But it was four years later his star really began to shine when he joined the stable of Clement ‘Coxsone’ Dodd’s Studio One. It was Coxsone Dodd who renamed him Andy after another of his leading artists Bob Andy, such was his belief in Horace’s writing talent and singing abilities. Still only twenty years of age Horace used his falsetto talent to the fore and cut some impressive tracks at 13 Brentford Road, Studio One’s headquarters. Such reggae standards as ’Skylarking’, ‘Just Say Who’, ‘Love of a Women’ and ‘Something on my Mind’ to name but a few. The early 1970’s saw Horace due to political reasons move on to work with producer Bunny Lee, a move that suited his talents and beliefs, Horace being an early advocate to the Rastafarian faith.The tracks which he cut with Bunny, which we concentrate on here gave his songs a rootsy feel. The rhythms often cut at Channel ONE and Randy’s Studio17 and finalised at King Tubby’s, provided a fine backbone for Horace to recut some of his earlier classics, along side his newer songs also to become reggae standards. Like ‘Money Money’, ‘Zion Gate’ the great ‘You are my Angel’ and a version of The Heptones ‘My Guiding Star’. The power of these recordings were such that the earlier tracks like ‘Skylarking’ became hits a second time around.Proving that the ‘you can’t keep a good tune down’ mantra was alive and kicking… …A golden time for Horace and Reggae music in general… Horace would go on to work with other producers like Everton Da Silva in 1977 creating the ‘In the Light’ album and the New York based Lloyd ‘Wackies’ Barnes in the 1980’s for his ‘Dancehall Style’ recordings. Most recently his work with Massive Attack has brought his majestic voice full circle and back into the arena once more. Those ‘Massive’ recordings and this dub collection here seem to fit side by side. Horace’s distinctive vocal riding over the rhythms adding a magic as only he can .....

RESPECT JAH FLOYD.