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Produced by Josephine ''Jo'' Bridges and signed to her We Produce imprint, The Temprees were a Memphis soul vocal trio powered by one of the great falsettos in pop music, that of Jasper ''Jabbo'' Phillips. Their 1972 debut Lovemen is aptly named; this is one of the greatest make-out R&B albums ever made, with one smoldering slow jam after another. Their take on ''Dedicated to the One I Love'' is rightly considered the greatest version ever made, but ''If I Could Say What's on My Mind,'' ''Love... Can Be So Wonderful,'' and ''I Love You, You Love Me,'' will get you and your partner's hips swaying (and patch up any lovers' quarrels tout suite, too). Stax didn't really know what to do with soul this sweet (We Produce was a Stax imprint), so Lovemen languished commercially, but nowadays it's recognized as a model of its kind. For its first-ever LP reissue, we've cut Lovemen ALL-ANALOG straight from the original two-track album master, and pressed it up in two versions, one in black vinyl, the other in eco-friendly, sonically superior valentine red PET plastic. The heart on the front cover sums this one up...

The Helsinki-based Bowman Trio return with their second LP on We Jazz Records on October 18. "Persistence" is a strong effort, showcasing the young trio's knack at creating dynamic, sparse and memorable music which carries well the term "loft jazz" occasionally attached to it. Here, drummer Sami Nummela, trumpeter Tomi Nikku and bassist Joonas Tuuri present 9 strong originals, 8 of which are penned by Nummela and one by Nikku.

On the course of the new album, Bowman Trio moves from the introspective, calm moments of "Badwater", "Mac Elliot" and "Mä en jaksa" to the full swing of "The Chase" and the solid grind of "Persistence". The album closing track "Sista sommardagen" ("The last day of summer" in Swedish) is a hauntingly beautiful, delicately breezy ballad. Two years in the making, the album is a testament to the album title and a fine example of a band taking time in developing their sound to perfection.

Bowman Trio debuted in 2016 with the group's first LP also being the first release on Helsinki's We Jazz Records, and since then their reputation has grown in Finland and beyond. The trio is known for making music which invites the listener in and takes it sweet time in unraveling its secrets. Their sound is somewhat dry, naturally relaxed and there's a lot of room for manoeuvre within it for all of the players. That being said, each of the musicians in the trio know how to play for their team, and the compositions move forward constantly and effortlessly. Bowman Trio makes music which always feels close to you, like you're right there in the room with the band. That's "loft jazz".

In conjunction with the 2025 re-pressing of the Nora Guthrie "Emily's Illness/Home Before Dark" 7-inch single, we have here, in the same format, a lovely cover of the latter tune, performed by Eddie Marcon, a band based in Himeji, Japan. The band's vocalist Eddie Corman and musician/producer Shintaro Sakamoto wrote the Japanese lyrics for this gorgeous version, recorded in 2024 and originally unintended for public release; however, this slice of sweetness, delivered by the full band comprising guitar, keyboards, bass, percussion and wistful winds is now available to the lucky listener. The flipside, recorded in 2025, is an intriguingly ghostly recomposed version for cello and flute by TORSO, a Tokyo instrumental duo, who used the basic tracks from the Eddie Marcon version of "Home Before Dark" as a 'guide' before finally deleting the basic tracks.

180 Gramm schweres, schwarzes 3-fach-Vinyl im Klappcover mit 20-seitigem Booklet und Download-Karte

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

Infinite Salutations is a game of two halves from Coflo and Emmaculate, where free wheeling jazzy expression meet club ready grooves. Salutations feat. QVLN is a guitar led winner with sweet vocal touches and layered percussion. Infinite is more of a dancefloor bumper with cool keys, bass delving and barbed synths. The Bay Area's Coflo is a mainstay on the label, having chalked up a range of hits from the deeper If It Goes to his magical cover of Love's Masquerade. Illinois' Emmaculate touches down on Cataleya for the first time, fresh from his release on G.A.M.M. with DJ Spen, production work for Ten City and remixes for the likes of Incognito. With Infinite Salutations, Coflo and Emmaculate provide a fantastic start to 2026 for Cataleya.

Nick Holder’s Iconic ‘Dance, Dance, Dance’ Finally Arrives Digitally with New Remixes from Jason Hodges and Trackheadz.
Definitive Recordings proudly presents a long-awaited milestone: the first-ever digital release of ‘Dance, Dance, Dance’ by Nick Holder’s Fruit
Loops project, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of discodriven groove, now returns remastered and refreshed — accompanied by two brand-new remixes from fellow Toronto house legends Jason
Hodges and Trackheadz.

The original version of ‘Dance, Dance, Dance’ captures the raw magic of mid-90s house — a stripped yet irresistible jam that fuses classic 70s
disco sampling with a deep, rolling bassline and a straight house groove. It’s simple, it’s soulful, and it’s pure disco-house sexiness.
Jason Hodges delivers a playful rework that modernizes the cut while keeping its soul intact. His remix adds shuffled percussion, chopped vocals,
and a subtly reworked bassline — injecting a fresh rhythmic twist that stays true to the track’s roots while enhancing its dancefloor punch.
Trackheadz then takes the track into deeper territory, layering lush synth chords, organ lines, and sweeping strings over a steady, hypnotic build
— a masterclass in musicality and atmosphere for the late-night crowd.

A true veteran of Toronto’s house scene, Nick Holder rose to international acclaim in the late ’90s and early 2000s with releases on Definitive,
NRK, Stickmen, and Studio K7, shaping the sound of deep and soulful house. As the founder of DNH Records, he’s been a driving force behind
countless underground classics, including ‘Da Sambafrique’, ‘Trying to Find Myself’, and ‘Summer Daze’.
Jason Hodges, another staple of the Toronto underground, is known for his tough yet groovy sound that bridges New York swing and Chicago
grit. Having remixed the likes of DJ Sneak, Derrick Carter, DJ Heather, and Kaskade, Hodges continues to be a name synonymous with timeless,
floor-filling house. Trackheadz, helmed by Kaje Trackheadz, brings decades of experience in blending sweet strings, soulful brass, and deep club
energy. Responsible for underground staples like ‘Our Music’ and ‘Feel’, he has remixed everyone from Todd Terry to The Sunburst Band, and
continues to expand his vision through Trackheadz Records.

Nearly three decades on, ‘Dance, Dance, Dance’ still grooves as hard as ever — now revitalized for the next generation of house lovers.

Big mental growing sound, from the deep acid to the acidcore... Twirling and totaly trippy. With a long mental middle-of-the-night grower and 2 techno pumpin acid starters. Sweet and dancefloor !

2026 Restocked!

If you've been following the Payfone story over the last 13 years, you'll know that Phil Passera and Jimmy Day's long-running collaborative project has specialised in one-off musical morsels - sublime songs cooked up in cahoots with all manner of guest musicians and vocalists. Never ones to rest on their laurels, Day and Passera have now delivered a full six-track tasting menu in the shape of Lunch, their hotly anticipated debut album.

Recorded over an 18-month period at Passera's Barcelona studio and Day's studio in Brighton, Lunch is an unsurprisingly assured and musically detailed affair that's entirely made up of previously unheard songs. Unlike acid-flecked recent single 'Volt To Volt', which delivered a tweaked take on late 1980s house music, the album's six tracks showcase the trademark sound the duo has been developing since first joining forces 13 years ago.

Trawl back through Passera and Day's high-quality catalogue, which includes outings on Leng, Golf Channel Recordings and Defected as well as their own OTIS imprint, and that distinctive musical recipe becomes clear. Rooted in their love of classic drum machines and their trusty JUNO-60 synthesiser, the Payfone sound combines equal amounts of electronic and organic instrumentation, warm and inviting downtempo and mid-tempo grooves, and pertinent and thoughtful lyrics delivered with panache by an impressive roll call of guest vocalists.

Lunch, then, is a standalone sonic statement - an initially vinyl only album on their own OTIS imprint - that continues this impressive lineage. Like all Passera and Day's collaborative work, it is free of samples, with the pair preferring to create their own sounds from scratch. Opener 'Movin' On', featuring the honeyed vocals of former XL Recordings artist Willis Earl Beal AKA Nobody and slap-bass from Jo Gabriel Harris (who also features on three other songs across the album), is a deep and effortlessly evocative mid-tempo delight that perfectly sets the tone for what's to come.

Brooklyn-born April Pittman and Russian/Armenian vocalist Zara Kian lend their talents to woozy, sun-baked shuffler 'Paperman' before regular Payfone collaborator Ludmilla Rodriguez headlines 'Joan of Arc', a veritable Mediterranean breeze rich in tumbling analogue synth synths, elastic bass and tumbling guitar solos. Those yearning for a touch of lightly disco-flecked dancefloor heat will savour 'Spend The Night', where Los Angeles singer Collette Tibbetts AKA Carmella The Balls, accompanied by virtuoso keys courtesy of Parisian pianist Gabriel Cazes, rises above a sweet, melodious, dub disco-adjacent backing track. In contrast, 'Pamela' is low-slung and hypnotic, with 'Sofian' vocalist Barbara Alcindor ushering us through a deep, heady groove-scape.

Fittingly, Passera and Day round off Lunch via a vibrant and potent sweet treat, 'Pony Bar'. Headed up by the J.J Cale-esque lead vocals of man of mystery Leon Lace, the pedal steel-sporting song joins the dots between dusty Americana, kaleidoscopic Balearic beats and lilting, slow-motion disco. Like the rest of the album, you'll be thinking about it long after you've washed down the last few musical mouthfuls.

On Stage is a live album by legendary American singer Elvis Presley. Recorded in Las Vegas in 1969-1970, the album was a follow-up to From Memphis to Vegas/From Vegas to Memphis. Unlike its predecessor, On Stage is focused on songs that weren’t associated with Elvis previously. The album features the worldwide number one single “The Wonder of You”, written by Baker Knight and originally recorded by Vince Edwards. Some other notable songs include “Sweet Caroline” (Neil Diamond), “Yesterday” (The Beatles) and “Proud Mary” (Creedence Clearwater Revival). “See See Rider” would eventually become Elvis’ frequent opening songs during concerts up until his last show. The album brings Elvis’ charismatic stage presence straight to your living room, and contains nothing but classic songs to sing along to. Pressed on transparent red vinyl, this record is available as a limited edition of 2500 individually numbered copies.

A landmark in Detroit deep house, Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.
Smokey 2LP with limited edition Obi Stip to celebrate the 35-year anniversary

15 years since their fantasy disco scene-defining 1st volume, Johnny Jewel’s IDIB lasso Sally Shapiro, Desire, Farah, Lovelock and the kreme of their field for a 27-song, 2-hour re-up



Where previous volumes took their sweet time to arrive, ‘Volume 4’ graces the ‘floor only two years since the last, and nobody’s complaining. From its slo-mo, dry-iced covers of Jennifer Lopez’ ‘Waiting For Tonight’, Don Henley’s ’Boys of Summer’ and even flipping R.E.M.’s ‘Losing My Religion’, thru to exclusive pearls by our disco queen crush, Sally Shapiro, and Johnny Jewel as Desire, it’s the ideal soundtrack for late summer into silly season.

British singer-songwriter Lucy Kitt unveils her highly anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of 70’s Laurel Canyon folk, 90’s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic “three chords and the truth” style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound.

Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown – a storybook of songs capturing that moment in time.

Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer’s Sam Beer and longtime collaborator Pat Kenneally on drums and piano.

Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.

Kitt's commitment to authenticity extends to every aspect of the album, from the down-to-earth, home-based album artwork which represents her life right now as a musician and a working mum, with all the wonderful chaos that comes along with it. Also her decision to maintain her natural accent throughout her vocals. "I have always retained my authentic self in my songs," she explains. "Always singing with my own accent, despite the influences of all the bands and artists over the years."

Kitt has been songwriting and performing for over 20 years, starting in a riot grrl band in her teens in her hometown of Romford, Essex, before evolving into the thoughtful folk storyteller she is today. A semi-finalist at the BBC Young Folk Awards in the early 2000s, she has performed at major festivals including Glastonbury and Cambridge Folk Festival, building a reputation for intimate, lyrically-focused performances.

Telling Me is a resplendent collection of songs, capturing the human experience with great empathy, honesty and musical sophistication that has become Lucy Kitt's signature.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

Dylan Atlantis' Insta bio read 'amateur artist' at the start of the year. Now she's on a billboard in Times Square. With vocals and lyrics that extend well beyond her young years, Dylan Atlantis is the definition of meteoric rise. Pitchfork describes her as "the silky R&B singer, sliding in with the laid-back cool." THE PHILIPPINES-BORN, WEST SYDNEY BASED MUSICIAN WAS RAISED on a musical diet of RnB and Hip-Hop by her Mum. Now a self-professed lover of all genres of music (even country), she's out here sharing her innermost thoughts and lyrical experiments with the world. "I kinda just treat music like a diary but also a science lab where I can experiment expressing myself in different ways until it's awesome enough that I feel compelled to share it." Impressed Recordings are proud to present Dylan Atlantis' release - It Starts Again, on limited edition vinyl.

Neon Yellow Vinyl

High Roller Records, neongelbes Vinyl, limitiert auf 450 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, Textblatt, 8-seitiges Booklet, Poster. Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im April 2025. Schnitt durch SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage!

Die hochgeschätzten Euro-Metal-Pioniere OZ wurden 1977 in der kleinen finnischen Stadt Nakilla ursprünglich als Cover-Band gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape DeMartine (Tapani Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Nachdem man in jedem Winkel des Heimatlandes Finnland live gespielt hatte, zogen OZ 1983 nach Stockholm um und unterschrieben einen Vertrag bei Börje Forsbergs Label Tyfon Grammofon AB Börje Forsberg, auch als The Boss bekannt, war der Sohn von Bathorys Quorthon.

In der Folge avancierten OZ zu einer der wichtigsten Heavy-Metal-Bands Skandinaviens und nahmen insgesamt fünf Studioalben auf, eher im Winter 1991/92 das Ende kam.

Nach »OZ« (1982), »Fire In The Brain« (1983) sowie »III Warning« (1984) war »Decibel Storm« 1985 das vierte Album der finnischen Schweden.

A little pearl from Italy, printed sleeve and nice cut with a Pumpin & acidulant tribe sweeties inside !