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In 2005, Headphones arrived as a seismic shift in David Bazan's already formidable canon- a collection of synth-driven confessions that push the boundaries of narrative songwriting. Stripped down to its barest essentials, the album finds Bazan and collaborators Tim Walsh and Frank Lenz constructing an audaciously raw soundscape: no guitars, just synthesizers, live drums, and Bazan's unmistakable vocals. Twenty years later, it remains a masterwork of emotional excavation and geopolitical reckoning, as relevant today as the day it was released. This 20th Anniversary edition, remastered by Christopher Colbert at National Freedom (The Walkmen, Richard Swift, Pedro the Lion), is housed in a gatefold jacket with expanded artwork by Grammy-nominated designer Jesse LeDoux, plus liner notes by writer and Belmont University Associate Professor David Dark. The self-titled album threads a delicate needle, simultaneously personal and prophetic. Songs like "Major Cities" tackle the macrocosm of American imperialism with clarity and anger, while tracks like "I Never Wanted You" unearth the raw wounds of interpersonal defeat. These are stories of inner and outer collapse, of bullies (both personal and political) wreaking havoc, yet rendered with humanity. Even in its darkest moments, though, Headphones pulses with the hope that honesty might light a way forward if only we'll bear witness to the truth. On its twentieth anniversary, Headphones feels more vital than ever. For those who've lived with it since 2005, this reissue is a chance to revisit an old wound, to press on it and see what's healed and what still aches. For new listeners, it's a chance to sit with something audacious and true an album that invites us to reckon with the ways we fail each other-and the ways we might still be good. Twenty years on, Headphones remains a rare album that doesn't just speak to you, but asks you to listen harder. + PROJECT FROM DAVID BAZAN OF PEDRO THE LION + DELUXE 20TH-ANNIVESARY REMASTERED REISSUE WITH BONUS TRACKS + DELUXE FIRST PRESSING ON LIMITED EDITION OPAQUE YELLOW VINYL LIMITED TO 750 COPIES + EXPANDED GATEFOLD ARTWORK BY GRAMMY-NOMINATED ARTIST JESSE LEDOUX + LINER NOTES BY DAVID DARK + REMASTERED BY CHRISTOPHER COLBERT (THE WALKMEN, RICHARD SWIFT, PEDRO THE LION) + LP INCLUDES BONUS 7" ON BLACK VINYL WITH TWO BONUS TRACKS

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

‘Zeitgeist’, the debut LP from celebrated Italian electronic music producer Dukwa, begins with a timeless dancefloor equation; swung drums, a clattering cobwell and flickering hi-hats lurch forward into a serious bassline. Within seconds, dancers are flung into the house anthem ‘You Don’t Want It’ that’s equally raw and charismatic, sensual and powerful. For the next forty-five minutes of rhythm, melody and studio trickery, ‘Zeitgeist’ continues to bend time, eras and bodies.

Having released EPs on respected labels including Numbers, Gudu and Diynamic Records, invariably with the support of Jackmaster, Peggy Gou and Solomun, Dukwa folds into the Slacker85 philosophy with ease, laying down a statement of intent that’s squarely for the dancers. Indebted to a youth digging in Florence’s record stores, embracing the peerless Italian rave scene, as well as his recent appearances at Circoloco and Kappa Future, ‘Zeitgeist’ subverts it’s knowing title to dance between styles with an urgency you can feel in your heels.

Before long, Dukwa is smoothly oscillating between acid overdrive and weightless house on ‘Catch All’, while the balance between softness and severity is refined even further on ‘Show Me’, showcasing the record’s first euphoric breakdown, a heads down, hands up moment that sacrifices none of his organic flow. Ably mastering many corners of his record box, ‘Avec Moi’ makes a confident left turn into tunneling trance, interspersed with a sensual french vocal.

‘All You Need’ provides the record’s beating heart, Dukwa’s overarching philosophy front and center around layers of synthesised groove, build and release: “The world is full of fighting, ignorance and greed, but right here on the dancefloor - the rhythm’s all you need”. Meanwhile, ‘My Turn’ channels more cinematic instincts, zoning in on an elegant piano riff in order to unravel a quietly epic deep house trip.

As ‘Zeitgeist’ heads toward its conclusion, Dukwa effortlessly squeezes the most emotive juice from his well-oiled studio. ‘Sad Eyes’ possesses the emotional punch of many vintage end-of-night anthems, still driving yet touched with a wistful ecstasy. Finally, for closing passage ‘Stck1’, Dukwa truly lets the machines sing, capturing a brief symphony of harmonising modulations that dip into weirdo electronica, without ever skipping his signature beats.

Vinyl Only!

Prepare to embark on a transcendental musical journey with Vick Lavender's latest album, "BEYOND". This release showcases Lavender's unparalleled ability to blend genres and create a rich tapestry of sound that defies boundaries. Teaming up with the talented Justin Dillard, who serves as music director and contributes his skills on organ and keys, Lavender delivers an album that is both innovative and deeply soulful.

From the deep house grooves of "Midnight Hour" and "Overdrive" to the jazzy house vibes of "Beyond" and "Knights", each track on this album is a testament to Lavender's versatility and mastery of his craft. The hip hop tracks "The Project" and "Good Timing" (featuring Big Mel) add a fresh and dynamic element, while the soulful house tracks "Experimental" (featuring Brian 'Smokey' Williams) and "Get Here" (featuring Angel-A) provide a lush, emotive experience.

The album also features contributions from a stellar lineup of musicians, including Simon Sims on bass, Joe McCoy on organ, Jackie Shepard on guitar, and Charles Roland on woodwinds. Special respect is given to Aundre Miller, Vick's mentor, whose influence is felt throughout the album.

"BEYOND" is more than just an album; it's a sonic journey that pushes the boundaries of genre and takes listeners on an unforgettable ride. Whether you're a fan of deep house, hip hop, jazz funk, or soulful house, this album has something for everyone. Don't miss out on this must-have collection from one of the most innovative producers in the game.

Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.

Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.

Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language — with each member having gone to achieve iconic status for their career contributions and technical prowess.

In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions,” “Miles Runs the Voodoo Down,” “It’s About That Time,” the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily,” a shortened albeit aggressive “Masqualero,” and the “Theme” finale of “Spanish Key.” Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.

In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.

Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.

Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.

Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.

A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.

Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

In 2017, Grammy-nominated artist Joan Osborne released the critically acclaimed album,Songs of Bob Dylan. Her artistic and soulful reinterpretations of the selection of Dylan songs was an eye-opening moment in an already celebrated career. Eight years after milestone recording, Osborne will release the stunningDylanology Live . The captivating recording finds the gifted vocalist performing in front of a live audience, with special guests Amy Helm, Robert Randolph and Jackie Greene featured throughout. Songs include "Spanish Harlem Incident", "Buckets Of Rain" "Masters Of War", "Tonight I'll Be Staying Here With You" and "High Water (For Charley Patton)".

"Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984. It was the band's first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys, and found the new incarnation of the band moving away from the Hardcore Punk associations of the original lineup in favor of a traditional Rock and Gothic Rock sound. Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer. Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert"

Signs & Gestures is a various artists limited vinyl pressing which will be available digitally later this year. The vinyl version was mastered by Todd Mariana at Chicago's newest cutting studio, Deep Grooves Mastering.

The compilation features four tracks. Longtime friends Awoke (aka John Griffin) and Jack Buser write the two cuts on the A-side. These guys have known each other for many years and the complimentary nature of their tracks echo their years long relationship. Both use analog gear in their productions. In fact, that is an understatement as both are engineers by day and admitted audio gear junkies by night. Awoke's Untitled #2843 is a quirky drama builder throwing the In My House vocal over squelches and acid lines. Buser's Midi Boson is a classic exercise in simplicity. Drums from an MPC and a lead from Elektron's Monomachine are all it takes for this groove to rattle the dance floor.

Side B is also the work of two close friends. Nathan Drew Larsen remixes Little Turtles by Souls Found. Mazi edits Nathan's remix (released earlier on Fresh Meat's When Bad People Cook Good Food Volume 3) to 6 minutes, removing the atmospheric outro and reducing some of the extended sections. What remains is an energetic workout that is uncommonly melodic and emotional. As Audio Soul Project, Mazi's remix 3 of Sentimental Love combines sections from the first two of his remixes of this song released on Vizual Records back in 2011. This new version will hopefully express the care and love that went into preserving the message of Joshua Iz and Chez Damier's original.

Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984.

It was the band’s first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys and found the new incarnation of the band moving away from the Hardcore Punk

associations of the original lineup in favor of a traditional Rock and Gothic Rock sound.

Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer

Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer.

Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert

Spacing Out is an instrumental masterpiece only ever issued in Bermuda at the turn of 1970. A mix of the band's out-there original compositions and extravagant covers of The Meters, The Temptations, Aretha Franklin and The Isley Brothers, it established this band as one of the greatest instrumental bands of any genre, and helped kickstart the retro-soul/funk scenes that birthed the likes of Daptone and Big Crown Records. It's certainly a lodestar for Now-Again Records. This reissue was done with the license and participation of the entire Invaders band, with their story told in great detail in an oversized booklet penned by Jefferson "Chairman" Mao, complete with rare photos of this rarely seen ensemble. From the proverbial stank face-inducing opening bars of reverb-drenched drums and congas that announce Spacing Out, you're thrust into something visceral and fleeting: a pocket universe in which technical excess, chemistry between players, and the uninhibited energy of youth align in a kind of glorious imperfection. Spacing Out is one of the greatest instrumental albums of its or any period in that unmistakably raw - as in honest - way only a crew of largely self-taught young uns could catch a groove

The first re-pressing of the Dead Milkmen's classic "Bucky Fellini" since its original release on Enigma Records in 1987. This album is a fan favorite and contains the Billboard charting "Instant Club Hit (You'll Dance to Anything)". Remastered by Phil Nicolo for contemporary vinyl, pressed in DUCKY YELLOW VINYL. The newly designed gatefold includes the original front and back covers on a beautifully produced tip-on jacket. The interior is filled with news clippings, previously unseen photographs, show posters, and QR Code WAV and MP3 downloads--all collaged together by the one and only Dean Clean. Also included, for the first time, is an inner-sleeve with lyrics and all new song-inspired art from Joe Jack Talcum. Additional bonus materials include a reproduction of a beat up, original Bucky Fellini poster and a link to download the elusive "Boner Beat" remixes. Hear what The Toronto Star deemed "a sarcastic masterpiece that takes the mickey out of a dozen cherished American icons" like never before. The Dead Milkmen aren't as stupid as they'd like to be ... Now they sound as if they might know how to play their guitars, and they produce some on-target commentary such as 'Instant Club Hit (You'll Dance to Anything)'. - eople Magazine As with all Giving Groove releases all label profits are directly donated to a 501(c)3 music-related charity-the recipient being the wonderful Philadelphia based organization Rock to the Future.

Bryan Beller's (Joe Satriani, Aristocrats, Dethklok) epic progressive double concept 2019 album feat. 26 all-star musicians now on Blue Swirl 2LP in gatefold jacket available! Bassist/composer Bryan Beller (The Aristocrats, Joe Satriani, Dethklok, Steve Vai) presents a sweeping, epic-scale modern progressive double concept album that asks the question: When the storm comes for us, the big one after which things will not be the same, who are we and what do we become in those defining moments? What do we keep, and what do we let go? "Scenes From The Flood" employs an all-star cast of 26 musicians to explore themes of ambition and loss, intentionality and reality, hope and disillusionment. It uses every second of its 18-song, 88-minute running order to tell an emotionally consuming and unforgettable musical story. Produced and composed by Bryan Beller (except "Angles & Exits," composed by Janet Feder), mixed and mastered by Forrester Savell. "Scenes From The Flood" is performed by: Christopher Allis, Bryan Beller, Nili Brosh, Paul Cartwright, Darran Charles, Julian Coryell, Mike Dawes, Janet Feder, Guthrie Govan, Ray Hearne, Gene Hoglan, Mike Keneally, Jamie Kime, Fred Kron, Teddy Kumpel, Jake Howsam Lowe, Evan Mazunik, Nate Morton, Rick Musallam, Mike Olekshy, Griff Peters, John Petrucci, Matt Rohde, Joe Satriani, Rishabh Seen, Joe Travers, Leah Zeger.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Recorded in Hollywood, California between two sessions in December 1956 and January 1957, Art Pepper’s Modern Art for the Intro label featured his melodic alto saxophone flights atop cool jazz, bebop, and blues in the company of a quartet with Russ Freeman on piano, Ben Tucker on bass, and Chuck Flores on drums. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

A little-known tenor saxophonist deserving of wider recognition, Teddy Edwards made two Pacific Jazz albums including 1960’s Sunset Eyes, which was a showcase for his rich, powerful sound and featured a cast of musicians including pianist Joe Castro, bassist Leroy Vinnegar, drummer Billy Higgins, and others. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

- Also available on black vinyl - First ever official reissue - Produced in full cooperation with Hiroshi Yoshimura's estate - Liner notes by contemporary music writer and professor Junichi Konuma - Remastered from original sources by John Baldwin - First time on vinyl, cassette, and streaming - 2xLP vinyl housed in gatefold jacket - Discs cut at 45 rpm for optimal sound quality // Following their 2024 reissue of Hiroshi Yoshimura's classic album, Surround, Temporal Drift proudly presents the first-ever reissue of FLORA, Yoshimura's underappreciated ambient classic. FLORA was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura's passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works GREEN and SURROUND, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura's other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show.

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

Recorded in 1967, Hank Mobley’s Third Season was a typically high-calibre hard bop outing by the tenor saxophonist with a 7-piece band featuring alto saxophonist James Spaulding, trumpeter Lee Morgan, guitarist Sonny Greenwich, pianist Cedar Walton, bassist Walter Booker and drummer Billy Higgins.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.