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Birdy Sanjazz and Philo Philta. A dream team of birds. Birdy scatters beats like birdseed, Philta makes pickypicky. One after the other. You can still hear "Grrrrr, there isn't more than one 16 per grain" and then he's fluttered on. How long this winter was, but luckily the birdhouse was always well stocked. Well-fed, they are now moving on, from Karlsruhe to Würzburg and back. Always look from above, down on this small world with its people and human-like creatures. A few of them approaching, as always. Timothy Morris, Slice, Johannes Onetake, DJ Ketch, Toby Tobsucht. Beep beep, album ready.


Birdy Sanjazz und Philo Philta. Ein Dreamteam an Vögeln. Birdy streut Beats wie Vogelfutter, Philta macht pickypicky. Einer nach dem anderen. Man hört noch „Grrrrr, mehr als einen 16er gibt es nicht pro Korn“ und schon ist er weitergeflattert. Was war dieser Winter lang, aber zum Glück war das Vogelhäuschen immer gut gefüllt. Jetzt ziehen sie wohlgenährt weiter, von Karlsruhe nach Würzburg und zurück. Blick immer von oben, nach unten auf diese kleine Welt mit ihren Menschen und menschenähnlichen Wesen. Ein paar von denen wie immer mit im Anflug. Timothy Morris, Slize, Johannes Onetake, DJ Ketch, Toby Tobsucht. Pieppiep, Album fertig.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1967, he met Jean Kluger who became his publisher. In the 1970s, their tandem stood out in those fields, for a plethora of popular French artists such as Petula Clark, Claude François, Joe Dassin, Dalida, Régine, Sheila and Ringo. 1975 saw the birth of Vangarde’s label, Zagora, and his first and only solo LP. Later on, Vangarde and Kluger were responsible for a number of hit songs by The Gibson Brothers, Ottawan and La Compagnie Créole. With or without Kluger, Vangarde also wrote and produced songs that remained underground, under several monikers (Starbow, Who’s Who, Soul Iberica Band, Yamasuki, Rocky & Vandella…) and for various artists. Let’s open these incredible cosmic disco funk vaults! Available on Double Vinyl (featuring 2 exclusive tracks) & CD .

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Neuer akustischer Angriff der US Metaller Resistance. Die amerikanischen Power Metaller haben die Schwerter einmal mehr gekreuzt, um mit ihrem bisher besten Album den Donner zu beschwören. "Skulls of my Enemy" ist ein von Hymnen durchzogener Schlachtruf, der die Metaller Gemeinde weltweit begeistern wird. Resistance haben es geschafft, den Sound und die Energie ihrer Live-Performance auf den neuen Longplayer einzufangen. "Skulls of my Enemy" liefert alles, was man von der "Los Angeles Metal Machine" erwartet.

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

2022 REPRESS -

The first Kranky collaboration with LOW was released in the fall of 1997.

The vinyl format for this has been out of print the longest of any of the band’s Kranky releases, and is finally available again for the analog purists.

Tom Jenkins hails from the high country of the South Wales Valleys, surrounded by the ex-coal mining communities and rugged landscape where he works on a sheep farm. Having previously been signed to Xtra Mile with his rock band Straight Lines (released two albums and toured with Motörhead, The Presidents of the USA and many more) he’s back with his second solo album. Written and recorded during lock down Jenkins worked alongside life-long friend and producer Todd Campbell between an old barn on the farm and Todd’s studio in the local area. The album features guest appearances from Phil Campbell (Motorhead), Marc Ford (The Black Crowes) and Paul Mullen (YOURCODENAMEIS:MILO, The Automatic) , Elijah Ford ( Gary Clark Jnr) and a few others that he has shared the road with over the years. Various singles from the album to be released throughout the year.

Storyteller's two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages', in 1971. This Svart reissue of 'More Pages' comes after the successful reissue of the band's debut album last year, and this one is likewise restricted to 500 copies on black vinyl. 'More Pages' has been hard to find as a full album, because the Storyteller CD reissue consists of the full first album and only a portion of the second. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Jerry Lee Lewis, Spitzname ”The Killer”, ist ein amerikanischer Rock’n’Roll- und Country-Sänger, Songwriter und Pianist. Als früher Pionier der Rock’n’Roll-Musik wurde Lewis 1986 in die Rock’n’Roll Hall of
Fame aufgenommen, und sein bahnbrechender Beitrag zu diesem Genre wurde von der Rockabilly Hall of
Fame anerkannt. Im Jahr 2004 setzte ihn das Rolling Stone Magazine auf Platz 24 seiner Liste der 100
größten Künstler aller Zeiten. Im Jahr 2022 wurde er in die Country Music Hall Of Fame aufgenommen.
Am bekanntesten ist er für seine Sun Records-Hits ”Great Balls of Fire” und ”Whole Lotta Shakin’ Going
On”.

Tape

Dur-Dur Band emerged in the 1980s, during a time when Somalia's contribution to the creative culture in the Horn of Africa was visible and abundant. Seeking inspiration outside the impressive array of Somali traditional music that was encouraged at the time, everyone from Michael Jackson and Phil Collins to Bob Marley and Santana were fair game. This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced bythe fidelity of this recording. However, the complex, soulful music penetrates the hiss. In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briefly enacted by Al-Shabab. Dur-Dur Band is a powerful and illustrative lens through which to appreciate the incredible sounds in Somalia before the country's stability took a turn.

The prolific German musician Christian Schoppik is dropping his second solo album of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year.

Once again, “Die Mariengrotte als Trinkwasseraufbereitungsanlage” (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds. If the title of the tracks “Opferkerzen weihen das Betonbecken” (Votive Candles consecrate the Concrete Pool) and “Der Heilige Geist aus der Leitung” (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this record let each one of us contemplate our own soothing experience against the continuous chaos surrounding us.

Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured.

Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view.

In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.

LIMITED WHITE COLOUR

Zwei Jahre nach ihrem mehrfach zum Album des Jahres gekürten Debüt für das Label Epitaph ("On The Impossible Past", 2012) veröffentlicht die Punkrockband The Menzingers ihren vierten Longplayer. "Rented World" entstand in Philadelphia, Pennsylvania. Erstmals an den Reglern: der Produzent Jonathan Low, dessen unverwechselbarer Americana-Sound schon die Werke von The War On Drugs, Sharon Van Etten, Kurt Vile und The National bereicherte. In der Vergangenheit haben The Menzingers bereits mit Bands wie Against Me! und Anti-Flag gespielt. Label-Boss und Bad-Religion-Gitarrist Brett Gurewitz über die 2006 gegründete Band: "Die Jungs spielen genau den reinen Punkrock, mit dem ich aufwuchs." Für Fans von Title Fight, Tigers Jaw, The Lawrence Arms, Frank Turner und Against Me!

Do noisy babies have you saying I miss you sleep? Rockabye Baby's quiet
versions of blink 182's pop-punk favorites will turn the lights off and help
keep 'em off all night long
.... do it for the kids!

Medium Rarities is a full-length album of unreleased material spanning
The Wild Feathers decade-long career
The album is composed of B-sides, covers, demos, and other gems that the band
culled from The Wild Feathers' vault. This limited deluxe edition pressing features
a foil- stamped and numbered jacket that is also autographed by the band. The
vinyl is pressed onto a medium rare meat color LP.

Are you a 'Holly Head'? This limited edition vinyl release is a double disc
pressing on 180g heavyweight transluscent green vinyl with beautiful
gatefold packaging
Obsession can lead an individual down many different paths, it has drawn Kate to
her fifth festive long-playing offering. It's one of the warmest Christmas albums
you'll ever encounter. Winter is supposed to be the season of barrenness, of Jack
Frost nipping at your nose and of needing your big coat. It may get dark at four
o'clock but 'Holly Head' will illuminate and kindle hearts and hearths.

The nine songs that comprise You Become The Mountain are heavily
inspired by the landscapes of the Pacific Northwest, meditation, longdistance running and Silverstein's work as a special education teacher
Expanding on the minimalist approach heard on How on Earth, Silverstein invited
pedal- steelist Barry Walker Jr. (North Americans, Rose City Band) and bassist
Alex Chapman (Parson Redheads, Evan Thomas Way) to round- out an
increasingly meditative sound.
Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to
create an album featuring both instrumental and lyric- based compositions.
Silverstein casts a wide net in 40 minutes, offering fans of both traditional and
experimental folk entry points into his universe. Primarily tracked live and void of
heavily processed sounds, the LP serves as a proper introduction to a songwriter
who celebrates patience and restraint in the highest regard.

More than 50 million records sold, LP productions in Hungarian, German
and English, tours and festival appearances throughout Europe and
Japan, at least 50 cover versions or adaptations of the world hit
"Gyanngyhaj li ny" - Omega are Hungary's number one rock export
In 2022, the band will be celebrating its 60th stage anniversary, making it one of
the longest-serving rock formations in the world. On St. Nicholas Day, December
06, 2021, singer and founding member J nos K bor passed away due to the
coronavirus. Now the Omega albums from the well- known and successful
Bacillus era will be rereleased originally and completely on vinyl. After a few trips
into symphonic and psychedelic rock realms, Omega presented themselves on €
III € , released at the end of 1974, again more down to earth: Nine crisp hard rock
tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still
producer, and Omega not only used current material, but also included songs that
had already been recorded on the Hungarian original from 1969: "Stormy Fire" and
"Spanish Guitar". In order to attract a broader audience, the songs had been pared
down, instrumental soloing was reduced. Although Omega had always flirted with
progressive stylistic means since their turn to psychedelic rock in 1969, this time
they kept their hands off intricate arrangements. Instead, they turned towards the
zeitgeist by including rather blunt rock tunes like "Stormy Fire", "Go On The Spree"
and "Fancy Jeep" in the list, which could also please a glam rock fan and
passionate consumer of single hits by bands like The Sweet and Slade.

Swedish Meatballs Vol 2 - The Psychedelic Hard Rock
Underground 1970-1977
Way-out heavy psych mindblowers with blistering guitars and pounding
drums! Sweden " heaven and hell
Strictly limited edition of 500 copies only. Comes with a striking day- glow
coloured sleeve and a massive 16- page booklet cram packed with photos and
previously untold stories. Subliminal Sounds swings open the portals to the long
lost, ultra-rare, or previously unreleased, music and history of these loud and hairy
underground hard rocking champions. Possessed zit covered Viking teens going
berserk and blasting loud and heavy sounds at youth halls making the stoner kids
go meatball crazy. Mini skirt moose hunters. Mid-70s communal people parks
hedonistic punch- drunk all- night benders. Local biker club bacchanalias with
fierce lesbian bikers make out on stage as the band's rambles on. Heavy metal
greasers in their imported American muscle cars chicken racing with ice bears.
Hard rock glam rockers accompanying XXX live shows and a previously unknown
connection to all mighty Bathory goat. All in a day's work for the Swedish
Meatballs. This is a tasty new release in our series: The Swedish Hard Rock
Underground " A Smorgasbord of Heavy Sounds !

For her hotly anticipated sophomore album Nashville songstress Nikki
Lane teamed up with Dan Auerbach of the Black Keys for a record that
turns the vulnerable singer-songwriter stereotype on its ears
With songs that crucify ex-boyfriends, celebrate one-night stands (as long as she
can bolt town right after) and proclaim it s always the right time to do the wrong
thing, Lane comes across like a modern- era Wanda Jackson, albeit with more
oats to sow. "My songs always paint a pretty clear picture of what s been going
on in my life, so this is one moody record," she says. "There s lots of talk of
misbehaving and moving on."

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Genre : Indie / Pop-folk The New Yorker Adam Green’s 11th and latest solo album, That Fucking Feeling, continues his musical explorations with longtime collaborators Loren Humphrey, James Richardson (MGMT), and Jesse Kotansky. The album places large-scale 'Wall of Sound' style productions alongside home-recordings done during COVID quarantine. Adam Green was touring in Europe in 2022 spring, and will tour in USA in November. When talking about the title track, Adam says: “I wanted to release something home-recorded. Back in the Moldy Peaches days I used to record everything on my parent’s kitchen table, but it’s been 20 years since I put out something like that. I wrote a few songs in quarantine singing into my laptop, and I like how direct it feels. Not every song has to be big, this is just a little song that felt like a sweet moment captured. I think of myself as a singing man, maybe that’s how I’m most comfortable in life” Tracklist : 1. Black Out / 2. That Fucking Feeling / 3. Red Copper Room / 4.Bitter Hearts / 5. All Hell Breaks Loose / 6. What's her face / 7. Dreidels of Fire / 8. Black Out (accoustic) / 9. What's her Face (accoustic) / 10. Little Failure

Happy to share with you our 4th release. We have on board a fresh producer who has been quietly making some magic. We are excited to welcome on board TRO a long collaborator and good friend. Machine workout for the heads!

We are delighted to announce RE:WARM 010 in this very infectious South African House-infused Pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles L.P or Something The Pasadena’s might have put out in the early 90s. Small’s, “Don’t Leave Me In The Rain” is an under-the-radar grail for all those seeking good time House music for the feel-good slot at any party.

For all those that enjoyed the releases, we put out from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s Pop, Bubble Gum, Kwaito & House scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives.

Officially licensed and remastered for this small release run, 500 vinyl copies in total, pick it up here rather than paying the extortionate cost of the rare and hard-to-find original.

When British Airways got privatized and listed on the London Stock Exchange, somewhere in Canada the first Starbucks outside of the US opened, and the Walt Disney Company signed an agreement with the French Prime Minister to construct Disneyland Paris. In the sky above southern Argentina, Equatorial Guinea, Cameroon, Sudan, Ethiopia, Djibouti, northern Somalia, and the Atlantic Ocean a hybrid solar eclipse materialized for 7.57 seconds, whilst Margaret Thatcher performed for 45-minutes on Soviet television. Some days later, The Simpsons cartoon first appears as a series of shorts on The Tracey Ullman Show, Diego Maradona wins his first Italian soccer championship with Napoli, and Eighteen-year-old West German pilot Mathias Rust lands a private plane on Red Square in Moscow. In the mists of the world's first conference on artificial life at the Los Alamos National Laboratory, the first Kentucky Fried Chicken restaurant in Mainland China opens in Beijing, and Prozac gets approved for use as an antidepressant in the United States. Much give way for the future, down there in 1987, the year that marks the title of Benedikt Frey’s freshest mini album, out into the world on R.i.O., the label he runs with some pals in the North of Berlin. It’s a dubby melancholic conqueror, wistfully, repetitive, drilling, absorbing, spooking. It makes you dream. Not particular of the year 1987. But it’s all there: The Red Square, the untouched land of the Val d'Europe, Diego on fuego. Six dark-ish tracks in trance, melancholic dub, downbeat heaven, journey music depths, all full of light and yet so dark. Futuristic dramas linked to a speculative past. In our dreams all might look different. The eclipse may last 27- minutes. You meet Neuromancer cyberpunks and blade running Ghost dogs, all taught to hack by Phrack. Cristal clear melodies, sampled voices, and veiled basslines, analogue scopes, and digital ropes, longing for a past that storm into the future. A time where deep listening widens the acoustics into infinity, while neon glows charm the light smog. Benedikt Frey been down there. Or maybe not. His latest music tells stories from the bygone, vested with the forthcoming. Come in and look out. There is nothing to see, yet so much to hear.

TONICO 70'S SOULFUL SIDE SHINES THROUGH IN NEW ALBUM CO-PRODUCED WITH PEPPE MAIELLANO (BANDA MAJE)

The cover of the new album by musician, rapper, DJ/producer and Banda Maje's co-founder Tonico 70 features an honest, unfiltered photo his mother took of him with a disposable camera – a photo that is as blunt and sassy as hip hop, but at the same time filled with the sweetness of soul music. The style of Antonico is all there, in that shot of a nine-year-old kid that was just beginning to discover and love music – a passion that, as he says now, "has been driving me for over thirty years."

Coming after many years of songwriting, beatmaking, MCing, live performances and collaborations, this new album, his first released on Four Flies Records, connects the dots between past, present and future, presenting Tonico 70 as a fully-rounded artist rather than just a rapper, and one aware of his own many facets.

Co-produced with Peppe Maiellano, Banda Maje's other founder, Antonico offers an intimate portrait of Tonico 70, who has put his 'tough-music-smuggler' persona aside to let his soulful side shine through, giving us a warm, funk-inspired and very original take on the so-called 'Napoli power' sound.


Lyrically too, the album takes us deeper into his world. Here, Tonico 70 evaluates his personal history, speaking about his joys and disappointments, his highs and lows, and the friends and lovers who are or were in his life.

Sometimes his flow is confidential and nocturnal – in "Vic'l", for instance, where the sound is smooth and sweet, rife with contrapuntal notes and harmonies that are clearly reminiscent of 70s soul, but also in the bluesy rap of "Doppia Chance" and the prayer-like song "For For". Other times he gets bolder and brasher, like in the reggae-inspired in "Quaqquara Qua", or in "The Revolution Will Not Be Telefonin", which is obviously a (cheeky) tribute to Gil Scott Heron.

A number of tracks feature long-time friends and collaborators: rapper Morfuco in "Italia 90" (a funky uptempo song with powerful gospel vocals in the chorus), the Funky Pushertz crew in "Sai Com'è" and, perhaps most importantly, the Salifornian soul-funk collective Banda Maje, who give new life to three songs from the artist's previous discography: "Vir Buon", "Gente Antica" and "Fantasie".

This album shows that Tonico 70 has reached a stage of maturity in his career, one where his music extends beyond rap and hip-hop to incorporate rich instrumentals and multiple genres that carry the echoes of his experiences and encounters in the lively alleys of Salerno's historic district, and of the people whose lives unfold there, in the heart of the Mediterranean.

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

Inspired by revolutionary efforts against oppressive hegemonies in Detroit, and in Black locales around the world, Memoirs of Hi-Tech Jazz is a sound score evocative of that resistance. It is also a reminder that although violence and injustice looms, it is not the only story: we are much more than what oppresses us. The album celebrates Black leisure and play; the mundane joys that persist in spite of the depleting realities of the world.

Movement, and the very mobility of the car specifically is integral to Memoirs of Hi Tech Jazz. Timed perfectly to match the duration of a round trip drive from Underground Music Academy in the North End, to Detroit’s island park, Belle Isle - the album is undoubtedly best experienced while driving.

That journey signifies the transition from labor to pleasure: from the neighborhood of the Techno Museum in North End to an outdoor park that has long been a destination for Black Detroiters to cookout, park their boats, play spades, and listen to local music.

Memoirs of Hi-Tech Jazz embodies the feeling this place engenders—a reprieve from the midwestern work ethic, and a reminder to ground in the pleasures of your body and the land.

It’s more of the same for Happiness Therapy, as the growing French label makes a welcome return to releasing music. This time, Berlin mainstay Marc Brauner lands on the imprint once again, delivering his first full-length HT EP in Amberjack.

Marc Brauner embodies exactly what it means to be a DJ and producer. From Houseum Records to Shall Not Fade, he has crafted a signature, club-driven sound during his near decade long career in dance music. A familiar face on Happiness Therapy off the back of two appearances on Happy House Vol. 3 and Happy House Vol. 4 respectively, Amberjack now marks the next step for the ever talented Berliner.

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Tape

Welcome to Carsharing Tapes. Welcome to the future.

With "DIURNAL TIDES: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.

And these two are: baze.djunkiii and THE D3VI7.

baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.

THE D3VI7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3VI7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3VI7 agreed to provide an official DJ mix for a mixtape release.

With baze.djunkiii's mix opening the roughly hour long journey of "DIURNAL TIDES: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.

Turning the tape THE D3VI7 does what THE D3VI7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3VI7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

Over the better half of a decade, Time is Away, the London-based duo of Jack Rollo and Elaine Tierney, have made tender and heartfelt transmissions through countless mixes, sound works and radio. Exploring deeply human themes of memory, persistence and resistance using an assemblage of source material, the duo's unique mode of storytelling culminates in Ballads, a new suite of songs and, significantly, their first officially licensed compilation.

From the opening notes of Horvitz Morris Previte Trio's jazz romanticism to Gilles Chabenat and Frédéric Paris's lively reimagined standard, the haunting vocal seance of Tanto Pressanto and the mesmerising swirls of The Unthanks, Yuko Kono and Rachel Bonch-Bruevich, the spirit of Ballads roams through generations of affectionate songwriting and conjures images both candid and surreal. The voice of poet and longtime collaborator Christina Petrie appears briefly and contemplates the "sighs and replies… the space between verses" of the Ballad, its beauty, its place in our lives. What is the Ballad but a reflection of our soul? "Perhaps I'll wander in search of it", she bittersweetly concedes.

At the suite's cusp is an alternate version of David Lang's 'Just (After Song of Songs)', a thirteen-minute meditation on devotion which featured in Paolo Sorrentino's Youth (2015). The track's universal themes of faith and desire radiate throughout and elucidate Time is Away's peerlessly precise yet gossamer touch.